John Donne An Annotated Bibliography of Modern Criticism 1968 ...

DigitalDonne: the Online VariorumWe are pleased to provide here the fi rst electronic access to John R. Roberts’s bibliographies ofmodern Donne criticism, which cover the modern Donne revival that began with the publication ofHerbert J. C. Grierson’s two-volume Poems of John Donne (Oxford University Press, 1912). Thesebibliographies are widely recognized as among the fi nest of their kind, and they constitute an invaluableresource for scholars, including those collaborating in the compilation of the Variorum commentary.The documents here presented have been scanned and converted into fully searchable PDF fi lesusing the OCR feature of Adobe Acrobat (v. 9). While the OCR text lying behind the visible scans istechnically “dirty” (i.e., we have not proofread it against the original pages), users will fi nd that thesearch feature (available in the toolbar at the top of the screen) is remarkably accurate.This volume is intended for individual research purposes only and is made available with the kindpermission of the original publisher, The University of Missouri Press.

Jn nnotated Bibli graph 1 of i lodern Critici. In196 - 197John R. RobertUnivcr ity ofColumbiali ouri Press' London

Copyright © 1982 byThe Curators of the University of MissouriLibrary of Congress Catalog Card umber 82- 1849University of Missouri Press, Columbia, Missouri 65211Printed and bound in the United States of AmericaAll rights reservedLibrary of Congress Cataloging in Publication DataRoberts, John Richard.John Donne, an annotated bibliograph y of moderncritici sm, 1968-1978.Includes index.1. Donne, John, 1572-1631-Bibliography.I. Title.Z8237·R63 [PR2248] 821' . 3 82- 1849ISBl 0-8262-0364-7 AACR2

To the J\ l lemoryofPauline Elizabeth Roberts

ant ntsPrefaceAbbreviation of Title of journalBibliographyIndex of Authors, Editors,and TranslatorsSubject IndexIndex of Donne's Worklcntioncd in Annotation1 14 1 142043 2

of the scholarly world and that many studies represent major contributionsto our un derstanding and knowledge not only of Donn e but also of theseventeenth century, of metaphysical poets as a whole, and even of thevery nature of poetry itself.Nearly all serious students of literature now agree that Donne cccupiesa significant and permanent position in our understanding cf thedevelopment of English poetry and that he is, in his 0 \\11 right. a majorpod of continuing and lively interest. At the beginning of this century.however, many critics were by 110 means willing to offer Donne a seatamong the great poets of our language. In 1900, and again in 1921. TheOxford Book of English Verse represented Donn e with only eight shortpieces, two of which were not actually his and one of which was onl y thefirst twenty lines of "T hc Extasic.' A number of critics, ill fact, were notonly hostile to Donne's poetry hut were quite scornful of those few adrnirersof his art. Edward Bliss Read, for example, in Elizabethan LyricalPoet'}' fro m Its Origins to the Present Time (New Haven: Yale UniversityPress; London: Hum phrey Milford and Oxford University Press, 19 12)openly condemn ed Donne's poetry for its "unmusical moments," its "imperfectutteran ce," and its "morbid strain" and concluded his evaluationby remarking that "Today Don ne's poems are never imitated; they are noteven widely read, for though he has a circle of devoted admirers, theirnumber is small" (p. 233). And, as late as 19 17, five years after the publicationof Sir IIerbert G rierson's monumental two-volume edition of thepoems and only four years before T. S. Eliot's endorsement of Donne andthe metaphysical poets. George Jackson announced in the Expository Timesthat "It must be freely adm itted that neither as poet. preacher. nor letterwriteris Donne ever likely to gain the suffrage of more than a few" andproceeded to characterize most of Don ne's love poems as "fi t only for thedunghill" (pp. 217. 218). Fifty-five years later, in his preface to Jolin Donne:Essa )'s in Celebration (London: Meth uen & Co., 1972), A. J. Smith observedthat "As far as records tell this is the first time a centenary of his[Donne's] birth has been celebrated or as much as remarked" but assureshis readers that "One can 't conceive now that a time will come againwhen the names of Shakespeare, Milton, Words....orth, Keats are knownbut the name of Donne is not" (p. vii). Prophecy in literary criticism is adangerous business at best. as we have seen. but Smith would seem to beon very solid ground in making his prediction. During the past decade orso approximately one hu nd red books and essays have appeared annuallyon Donn e.Th e present bibliography follows, for the most part. the principlesand guidelines established for my earlier volume. T he annotations in this

Preface 3bibliography are essentially descriptive, not evaluative, because I fi nd thatwhat is important andlor useful to one cholar i not equally significant toanother. I have made the annotation quite detailed and oftcn quote extensivelyfrom the item in order to convey a sen e of its approach and thelevel of its sophistication. Th erefore, the reader should be able to judgefor himself whether a particular book or essay will be useful for his purpocs. Likewise, I have listed each item chronologically. in part 0 that byglancing over the arious en trie the reader will be able to obtain a senseof the various shifts, direction s, and developments that have occurred inDonne criticism durin g the eleven-year period. By means of three detailedindexes (author, subject, and work of Donne cited in the annotations),the reader can ea ily locate individual studies that interest him.As in my previou: volume, I have attempted to make the bibliographyas complete and as com prehensive as possible, yet even from thebeginning, it was necessary to impose certain limitations. The basic guidingprinciple has been to include all books, monographs, essays. and notespecificallyon Donne written between 1968 and 19 8; but, in addition. Ihave also tried to include discussions of Donne that appear in works notcentrally concerned with him . Of course, nearly all books and many articleson metaphysical poetry or on individual metaphysical poet containorne comment on or reference to Donne, but to have included all itemsthat mention Donne in relation to Herbert. era. haw Vaughan, 1 larvell,Traherne, et al., would have extended the pre ent bibliography far beyondmanageable bounds. Since my primary intention is to list and annotateDonne criticism, I have not included all edition of his poetry and prosenor all anthologies that contai n elections from his work, although I havetried to include editions that contain critical discussions and/or notes orthat. for one reason or ano ther, seem to have some special significa nce,uch as certain privately printed editions, limited editions, and translation.into foreign languages, which indicate the popularity and availabilityo Donne to those \ ho do not read English. Reprints of editions andworks published before 196 8 have been excluded. ln referring to Donne'spoems [ have followed Sir Herbert Grierson's text (1929), except in thosef w instances when it was necessary to usc titles from other editions, all ofwhich are indicated in the ann otations. By doing so, I do not intend toindi ate a preference for Criersons text but simply hope to avoid confuion.Publications are listed according to the date of publication that Iu ed in preparing the bibliographic entry; reprints, revisions, and newedition of works first published between 1968 and 1978 have been rerdd when knox n. Book review have been excluded since it i irnposiblc: to locate them all and to list only those found would be rni leading

Abbreviations of Titlesof JournalsABR • American BenedictineReviewAEB • Analytical and Enumerative BibliographyAI • American Imago: A Psychoanalytic Journal for Culture, Science, and the ArtsAN&Q • American Notes and QueriesAnglia • Anglia: Zeitschrift fur Englische PhilologieArcadia · Arcadia: Zeitschrift fur Vergleichende LiteraturwissenschaftAriel · Ariel: A Reviewof International English LiteratureBC • The Book CollectorBI • Books at IowaBLR • Bodleian Library RecordBNYPL • Bulletin of the New York PublicLibraryBRMMLA • Rocky Mountain Reviewof Languageand LiteratureBSUF • Ball State University ForumBuR · Bucknell ReviewCahiersE • Cahiers Elisabethains: Etudes sur la Pre-Renaissance et la RenaissanceAnglaisesCE • College EnglishCEA • CEA Critic: An Official Journal of the College English AssociationCenterpoint · Centerpoint: A Journal of Interdisciplinary StudiesCentlc > The Centennial Review(East Lansing, MI)Centrum >Centrum: Working Papers of the Minnesota Center for Advanced Studiesin Language, Style, and Literary TheoryCHum · Computers and the HumanitiesCithara • Cithara: Essays in the [udaeo-Chrisiian TraditionCL • Comparative Literature (Eugene, OR)CLAJ • College Language Association JournalCLS • Comparative Literature StudiesCollG • Colloquia Germanica: Internationale Zeitschrift fur Germanische SprachundLiteraturwissenschaftCollL • College LiteratureCosterus • Costerus: Essays in English and American Languageand LiteratureCp o Concerning Poetry (Bellingham, WA)CR • The Critical Review(Canberra, Australia )Critique · Critique: RevueCenerale des Publications Francaises et Eirangeres (Paris,France)CritQ • Critical QuarterlyCritS • Critical SurveyCSR • Christian Scholar's ReviewDHLR • The D . H. Lawrence Review(Fayetteville, AK)DR • The Dalhousie ReviewDUJ • Durham University JournalEA • Etudes Anglaises: Grande-Bretagne, Etats-UnisEAS • Essays in Arts and SciencesEIC • Essays in Criticism: A Quarterly Journal of Literary Criticism (Oxford,England)EigoS • Eigo Seinen (Tokyo, Japan)EIRC • Explorations in Renaissance Culture7

Abbreviations of Titles of JournalsELH • Journal of English Literary HistoryEL T • English Language Notes(Boulder, CO)ELR • English Literary RenaissanceELWIU • Essays in Literature (Macomb, IL)EM • English Miscellan y: A Symposium of History, Literature, and the ArtsES (Valladolid) • English Studies (Valladolid, Spain)ES • English Studies: A Journal of English Languageand LiteratureESA • English Studies in Africa: A Journal of the Humanit ies (Johannesburg,South Africa)Expl • ExplicatorFHA· Fitzgerald-Hemingway AnnualFI • Forum ItalicumFl'vILS • Forum for Modem Language Stud ies (St. Andrews, Scotland)GHJ • George Herbert JournalGRM • Germanisch-Romanische MonatsschriitHAB· Humaniti es Association Review/La Revue de {'Association des Humanii esHerrnathena • Hermathena: A Dublin University ReviewHLB • Harvard Library BulletinHLQ' Huntin gton Library Quarterly: A Journal for the History and Interpretationof English and American CivilizationHorizontes • Horizontes: Revista de la Universidad Catolica de Puerto RicoHSL· University of Hartford Studies in Literature: A Journal of InterdisciplinaryCriticismHTR • Harvard Theological ReviewInnisfrec • lnn isiree (Hammond, LA)IQ • Italian QuarterlyJAAC • Journal of Aesthetics and Art CriticismJBS • Journal of British StudiesJEGP • Journal of English and Germanic PhilologyJEn • Journal of English (Sana'a Univ.)JGE • JG E: The Journal of General EducationJHI • Journal of the History of IdeasJHM • Journal of the History of Medicine and Allied Sciences (Univ. of Minnesota)JRUL • Journal of the Rutgers University LibrariesKafiina • Kaiuna: Revista de Artes y Letras de la Universidad de Costa RicaKR • Kenyon ReviewL&H • Literature and History: A New Journal for the Humaniti esLang&L • Language and Literature (Copenhagen)Lang&S • Language and Style: An International JournalLangQ • The USF Language Quarterly (Tampa, FL)Language' Language: Journal of the Linguistic Society of AmericaLcS • Lingue e Stile: Trtmestrale di Linguistica e Criiica Letteraria (Bologna,Italy)Library' The Library: A Quarterly Journal of Bibliography1.:1' • Levende TalenLWU • Literatur in Wissenschaft und Unterrichi (Kid, West Gcrmany)MichQR • Michigan Quarterly Review (Univ. of Michigan)MiltonS • Milton StudiesMLQ • Modern Language QuarterlyMLR • Modern Language ReviewMoreana • Moreana: Bulletin Thomas More (Angers, France)Mosaic' Mosaic: A Journal for the InterdisciplinaryStud y of Literature

Abbreviatio1ls o[Titles ofJournals 9MP • l'vlodem Philolog)': A [oumal Devoted to Research in Medieval and ,\JloclemLiterature~\'IQ • Midwest Quarterly: A [ournal of Cantempara,)' Thought (Pittsburg, KS)MSE • l'vl ass a ch use tt ,~ Studies in EnglishI &Q . otes and QueriesTLH ' ell' Literary Histo')l: A [oumal of Theo')' and Interpretation (Charlotte ­ville, A )N~\' ( • J euphilo/ogische Miltei/ungen: Bulletin de la Societe J eophi/olugique IBulletin of the lv(oelern Language SocietyNRF • Nouvelle Revue FrancaiseNS • Die Neueren SpraclienOberon ' Oberon: Magazine for the Study of English and American Literature(Tokyo, Japan)PakR • Pakistan ReviewParergon • Paretgon : Bulletin of the Australian and j ell' Zealand Association forMedieval and Renaissance tudiesPBA ' Proceedings of the Briti h AcademypBSA • r BSA: Papers of the Bibliographical Society of AmericaPCp· Pacific Coast PhilologyI'Ll , • Papers on Language and Literature: A luumal for Scholars and Critics ofLanguage and Literaturepr-,'IA A • Papersof the M ichigan Academy of cience, Arts, and LetterI' ILA · Publications of the (adem Language As ociation of AmericaPN!l ILA • Papersof the Midwe t MLAPoclryR • Poetry Review (London, England)ppMRC · Proceedings of the PMR Conference: Annual Publication of the InternationalPatristic, Mediaeval and Renaissance ConferencePQ • Philological Quarterl)' (Iowa City, IA)pURBA • Punjab Univenitv Research Bulletin (Arts)QJ • Quarterly [oum al uftpeechQQ . Queen' QuarterlyRcn&R • Renaissance and Hefonnation I Renaissance et Re[onneRcnP • Renaissance PapersRenQ • Renaissance Q uarterlyRES· Review of English Studies: A Quarterly [outnu! ofEnglish Literature andthe English LanguageRLC • Revue de Litterature CompareeRIC · Rivista di Lett eratu te Modeme e Comparate (Florence, ItaI )RLV • Revue des La ngues Vivantes (Brussels, Belgium)R ~I • Renaissance and uxlem StudiesRl L · Re\'iew of rational LiteraturesR LR· Rivista de Storia e Letteratura ReligiosaRUS Eng · Rajasthan University Stu dies in EnglishSAB • South Atlantic Bulletin: A Quarterly [oumal Devoted to Research andTeaching in the Modem Languages and LiteraturesAQ • South Atlan/a Quart erlyB· tudies in Bibliography: Papersof the Bibliooraphical Society of the Uni\'erit),of VirginiaB · outh Central BulletineN • Seventeen th-Centutv eli'sSCr ' Strumenti Critici: Ri:vista Quadrimestrale di Cultura e Critica LetterariaSECOLB • The SECOL Bulletin: Southeastern Conference on LinguisticsEL · Studies in English Literature, 15°0-/9° 0

Abbreviations of Titles of JournalsSELit • Studies in English Literature (Tokyo, Japan)SES • Sophia English StudiesSHR, · Southern Jlumanities ReviewSNL • Satire Newsletter (State Un iversity College, Oneonta, NY)SoQ ' The Southern Quarterly: A !oumal ofthe Arts in the South (Hattiesburg,J\IS)SP ' St udies in PhilologySP\VVSRA· Selected Papers from the West Virginia Shakespeare and HenaissanceA~ soeiationSQ • Shakespeare QuarterlySR · Sewanee ReviewSRen • S t ud i e,~ in the RenaissanceSSEng • Sydney Studies in EnglishStyle ' St)'le (Fayetteville. AK)Sur ' Revista SurTheoria • Theotia: A ioumal of Studies in the Arts, Humanities. and Social Sciences(Natal. South Mrica)THY · Thomas Hardy Yearbook'11.5 ' [London] Times Literary SupplementTrivium • Tri ~'iu m (Dyfed. Wales)TSE • Tulane Studies in EnglishT SL • Tennessee Stud ies in Literature'['SLL ' '1exas Studies in Litera ture and Language: A [oumai of the HumanitiesUDR · University of Da)'ton ReviewUR • University Revi",", (Kansas C itro1\10 )UTQ · University of 1oTOnto Quarterly: A Carl

1968~ 1. AIZAWA, Yo HIHISA. "A Study of Donne's Conccits-In Relationto the 'le n Aristotelian Categories." Bunkei Ronso (jimbun-gakubu,Hirosaki Daigaku) 4., no. 2 (December). 17- 28.Analyzes the relationship between the tenor and vehicle in Donne'sconceits by relating them to the ten ristotelian categories-s-substance,quantity, quality, relation, place, time, position, state, action, and affection.Gives examples of Donne's use of the categories in conceits found in"The Undertaking," "The: Sunne Rising," "The Canonization," "Aire andAngels," and "A Valediction: forbidding mourn ing."~ 2 . ALLEN, JOliN D. "1. Alliteration Assonance Consonance: Spenserto Auden," in Quantitative St udies in Pro.mdy, pp. l-q8. JohnsonCity: East Tennessee University Press.Presents a quantitative study of the uses of alliteration, assonance, andconsonance in selected poem drawn from twenty-five poets from Spenserto Auden, including Donne. See especially the comparative statistical tables(pp. 60, 88, 104-1 2, 116). Notes the high percentage of alliterative frequenciesin Donne's poetry.~~ 3. BAKER-SMITH, DOMINIC. "John Donne and the Mysteriurn Crucis."EM 19: 65-82.Argue that much of Donne's religious imagery, especially his treatmentof the cross of Christ, is drawn from prescholastic sources and informedby various devotional traditions and that when Donne's references to thecro are considered in the light of the complex mysierium crucis traditionmany of hi ideas and references become much more precise , Points outthat Donne may have known Justus Lipsius'sDe Cruce and Jacob C rester'sDe Crucis Christi as suggested especially by the imagery of "The Crosse."Maintains that "the strength of renaissance devotional poetry is its abilityto fuse patterns of feeling and of metaphor that were traditionally distinct"and calls "Coodfriday, 1613. Riding Westward" "a rehearsal of Christianveneration of the Cross" (p. 66). Argues that in the poem Donne "deliberatelysets off the contrasted treatments of the Passion that have comedown to him and the consequent fusion produces the third term, a dramaticheightening that pervades the entire poem and gives to the accumulatedmatter a distinctly individual tone" (p. 8I)."09 4· BEAV ER, JOSEPH C. "A Gramm ar of Prosody." CE 29: 310-21.Reprinted in Linguistics and Literary Style, edited by Donald C. Freeman(New York: Holt, Rinehart and Winston, 1970), pp. 427-47.Studies certain metrical-stylistic features (such as the distribution of stressmaxima and patterns of occupancy) in the first ten of Donne's Holy onnetsand compares them with ten of Shakespeare's sonnets. Coneludesthatthe study "suggests, in Donne, a metrical structure tending to support1 )

\John Donnestability at the extremities of the lines, somewhat like a suspension bridge,perhaps at the expense of medial stability" whereas Shakespeare "tends toprovide anchors at half way points" (p, 320). Points out that Donne oftendeliberately uses unmctricallines as attention-getting devices and that oneway he achieves thi is by consciously putting stress maxima in off positions.~~ 5. BECK, ROSA LIE. "A Precedent for Donne's Imagery in 'Coodfriday,1613. Riding Westward.''' RES, n.s. 19: 166-69.Points out that the moralization of the heavenly system in Lydgate'translation of Guillaume de Deguileville's Pilgrimage in Ore Life of Man ,a reversal of the standard one advocated by Sacrobosco in De Sphaera , issomewhat analogous to Donne's imagery in "Goodfriday, .61 3. Ridingv estward' and shows that "a moralization of the heavenly system morecompatible with accepted Christian symbolism than that of Sacroboscowas current well before the seventeenth century" (p. 169).~ 6. BENJ AMI.? EDWIN B. "Donne and Bodin's 'Theatrum." N&Q n.s.15: 92 - 94 ,Suggests that Donne may have known the French translation (1597) ofJean Bodin's Theatrum Universale (1596) and cite ' everal parallels betweenBodin's treatise on the relationship of the corporeal and the piritualin man and Donne' "The Extasic" and "Aire and Angels." Postulates thateven the titles of the two poems may have been suggested by titles inBodin' book.~ 7. BUCKLEY, V INCENT . "John Donne's Passion," in Poetry and theSacred, pp. 99- 116. 1 ew York: Barnes & Noble: London: Cha tto &Windus.Discusses the complex and pervasive nature of the poetic passion revealedin Donne's love poetry as well as in his religious verse-a passionthat is "no mere outcry, but a revelation" combined with a poetic logicthat is "no mere 'tactic' of elaboration but a straining towards revelation"(p. 106). Argue that in his highly dramatic poems Donne's immenseenergy and subtlety "work towards opening lip the experience so that, at acertain point in the poem's logic. its dimensions may be fully revealed"(p. 11;). Suggests that the chief characteristic of Donne's poetry is "itsopenness, an openness not only to a common world but to the range ofitsauthor'sown passions" (p, 115); thus Donne "docs not 0 much explorethe self as uncover and reveal it, and then in terms of situation and.relationship"(p, 116).~ 8. CAMERON, A LLEN BARRY. "Donne and Dryden: Th eir Achievementin the crse Epistle:' Discourse I I : 252- 56.Compares Donne's ' "To Sir Henry Wotton: Sir, marc then kisses" andDryden'. "To My Honoured Friend, Dr. Charleton" to show the artistic

A Bibliograph y of Criticismrange of the verse epistle and to illu tratc the difference between Donne'sand Dryden's concepts of the role of the poet in ocieLy. Suggests that,whereas Donne's epistle is colloquial, intimate, and private, Dryden's ismore structurally unified and formal and reflects his notion of the poet aspublic spokesman or cultural orator.~~ 9. COOPER, JOHN It The Art of The Compleat Angler. Durham:Duke University Press. vii, zoop .Comments on Dormes relationship with Izaak \-Valton. Calls "The Baite,"which Walton included in The Compleat Angler, " 3 kind of piscatorialpastoral of Marlowe's 'Come live with me" (p. 61). Suggests that the secondsection of Robert Boyle's Occasional Reflections (1665) is reminiscentof Donne.f.-o!!~ 10. DONNE, JOHN. T he Poems of John Donne. Selected, introduced,and annotated by Frank Kermode. Wooel engravings by Imre Reiner.Cambridge: Printed for the Members of The Limited EditionsClub at the University Printing House. xxiv, 198P.Reprinted: lew York: T he Heritage Press. 1970 .First edition limited to 1,500 copies. In the introduction (pp. xi-xxi)Kcrmode presents a brief biographical sketch of Donn e and a critical evaluationof hi poetry. Maintains that Donne created a new poetry, whichwas often debased by less qualified imitators; comments on certain majorcharacteristics of Donne's poetry (blend of argument and passion; uses ofparadox and analogy; wit and obscurity); and claims that it is "one of thegreatachievements of taste and scholarship over the past century that thepower and colour of Don ne's poetry have been restored, and are seen tobe capable of an immediate impact on the modern mind " (p. xxi), NoteOil the text (pp. xxiii-xxiv) points 0 111 that the text is based primarily 0 11John Hayward's onesuch edition (19 29) but follows Helen Gardners textfor the Elegies and her ordering of the Holy Sonnets; occasionally variesfrom Hayward's edition of the Songs and Soneis, preferring Cr ierson or.ardner; and accepts Manley's edition of The Anniversaries. Selections.\ ith notes, from the Songs and onets. Epigrams, Elegies, Epithalamions,Sc ryres, Verse Leiters, The An1liversaries, and the Divi1le Poems(PI'· 1-1( 1 ). Index of titles (pp. 193- (4); index of first lines (pp. 195- 9 ).I I. . Selected Poems [and] Death's Duell. celta, introduzionee com mento di Giorgio Melchiori. (Biblioteca italiana di tcstiinglesi, 2.) Terza edizione riveduta e aggiornata. Bari: Adriatica Editricc.283P .Biographical sketch (pp. 11- 2 ), survey of historical background (pp.1]-39 ) and of the literary background (pp. 39-47). and a critical introductionto Donn e's poetry and its influence (pp. 47-65). Stresses, in particular,Donne's presenta tion of interior conflict in highly dramatic con­I Is. hi u.es of idiomatic and colloquial language, his metrical originality

.. . [1068J John Donneand inventiveness. and his wit Contains a selected primary and secondarybibliography (pp. 67- 82) that is especially important for Italian editions,selections, and critical studies. Presents selections from Donne's poems(pp. 85- 251) and Deatbe Duell (pp. 2;2 - 80). Texts in English; notes inItalian.'4~ 12.. ESCH. ARNO. "John Donne: Hymne to Cod my Cod, in In)l sicknesse,'in Die engli.'>Che Lyrik: Von der Renaissance his zu, Cegenwart,edited by Karl Heinz Coller, I : 134-45. Dusseldorf: AugustBagel.Translates "H ymnc to God my Cod. in my sickncsse" into Co rman andexplicates it. Focuses primarily on the image of the hemispheres and compatesthe religious treatment of this image with its treatment in the So ngsand Sonets....~ 13. FORREST, W ILI.IAM C RAIG. "T he Kinesthetic Feel of Literature."BuR 16, iii: 9 1-106.Exam ines the kinesthetic effects in lines 79-82 of Satyre III (pp. 102-4) and argues that the effort required 10 pronounce the words "suggests thephysical effort of rugged mountain climbing that Donne employs as ametaphor for trut h-seeking" and also "suggests the bodily strain and tensionwhich acco mpanies an emotional struggle such as Donne's tru thseekerenco unters" (p. 104).-.s9 q . CoLDKNOPl', DAVID . "The Disintegration of Symbol in a MeditativePoet." C E -;0; 48- 59.Discusses the disintegration of symbol in the poetry of Vaughan andespecially Traherne "as an access route to a consideration of how sym bolsin general operate" (p. 48). Briefl y discusses how Donne uses similes "tomake highly innovative connections" [p. 50) in "A Valedictio n. forbiddingmou rning." Suggests that the symbo ls of the eagle. dove. and phoe nix in"The Ca nonization" arc "messages to an ingroup" and that the in tellectivecon notations of the symbo ls "have virtuall y engulfed the imagistic elements"(p. 50). Notes that in the poetry of Donne and Herbe rt Man antisensuousphilosophical statement is often propounded in sensuous terminology,and tension between . one might say, ideology and physiology becomespart of the overall meaning of the poetry" whereas "only traces ofthis dialectical struggle arc found in the poetry of Vaughan and Tlaheme.for the imagistic bonds with nature have dissolved almost entirely" (p. 52).0.09 I;. GoRUER. CLAUDIO. La poesia meta/isica ingiese. (Biblioteca d istudi inglesi e amencani. 1,) Milan: La Coliardica . 167p.Th e introduction (pp. 2-17) briefly outlines the revival of interest inmetaphysical poetry in the twentieth century, especially the role played byT. S. Eliot, and comments Oil some of the ma jor philosophical Issues thatmake the poetry relevant to modern readers. C hapter I (pp. H)- 39) traces

A Bibliography o(Criticismthe development of Engli h poetry during the ixteenth century and commentson several of the ph ilosophical and religious changes that preparedthe way for the development of metaphysical poetry. By way of example,contrasts Donne's "Lover infinitenesse" with Shakespeare's onnet 40.Chapter 2 (pp. 41-4 ) briefly di Cll se the nature of metaph y ical wit andcontrasts it with Elizabethan wit. Chapter 3, "La poesia di John Donne"(pp. 49-79), pre ents a biographical sketch; an extended discussion of Thefirst Anniversary as a reflection of the philosophical conflict experiencedby Donn e as a result of the changing world view; and a critical commentaryon several major aspects of Donn e's lyrical poetry, especially its usesof paradox and irony; its often elaborate imagery; its uses of conce its andemblematic images; its variety of metrical and rhythmical effects; it intellectuality,wit, and economy; and its uses of Platonic and religious languagea a vehicle for ec ular love. Illu trates these and other aspect ofDonne's art and thought by commen ting on a number of poems in theSongs and Sonets, especially "Twicknarn garden," "The Relique," "T heCanonization," "Aire andl Angels," "A Valediction: forbidding mourning,"and " nocturnallupon S. Lucies day." Chapter 4 (pp. 81-105) deal withHerbert; Chapter; (pp. 107-23) with Crashaw and the baroque; Chapter6 (pp. 125-40) with Hen ry aughan. Chapter 7 (pp. 141-63) discussesthe evolution of wit. e pccially in Cowley and Marvell, and comments onthe decline of the rnctaphy ical tradition . Appendix (pp. 164- 67) reproducesselections (in •nglish) from Dryden, Dr. John son, and T. S. Eliot.~~ 16. GRAHAM, DE! MO D. Introduction to Poetry. London: Oxfordniversity Press. vi" 16 p.~xp licates "Batter my heart" primarily by pointing out and diagrammingthe complex interplay between its formal clemen ts and it. enseunit (pp. 63- 66). Also comments briefly on the paradoxes and arnbiguitiein lines 13-14 of the poem (pp. 29- 30, 38).~~ 17. GRAZIANI, R EI E. "John Donne' 'The Extasie' and Ec tas ': ' RESn.s. 19: 121-36.Points out resemblances between the nature of ecstasy in "The Extasie"and that in Antoine Heroet's La Parfaict Amye (1542) and in JacquesColtorry's French translation and continuation of Book XI of the Amadisde Gaula series (1554) to show that the ecstasy in Donn e's poem "conformsto a ecular usage, and does not call for a close application of mysticaldoctrines involving a 'death of ecstasy' or 'a mystical sharing of somepart of thc Divine Beauty and Wisdom' to explain the poem" (p. 124).haws how Donne both adheres to "a specialized usage of 'ecstasy' thatdenoted a strictly amatory set of quite definite characteristics" (p. 123) andhow he ignificantly departs from the convention in several crucial ways.Argues that such a compar ison leads to a better understanding of a numberof cruxes in "The •xtasie,' especially the use of the hypothetical by-

A Bibliography of Criticism [' 968 1 ' 756- 59); (5) Chapt er II; "T he Initial Prose and the Songs and Sonnets,1;:98- 1605" (pp. 60- 124); (6) Chapter III: 'The Middle Years. 160;:- Ifxx}"(pp. 125- 95); (7) C hapter IV; "The Anniver.sanes. 1610- 1612" (pp. 196­225); (8) "John Donne's Life; 161;:- 1631" (pp. 226- 29); (9) Chapter V:"Aftermath, 1612-1631" (PIP. 230- 77); and (10) Epilogue (pp. 279-81).Sees the develcpment of Donne's interior life as rele.....ant to the experienceof modem man: "In the beginning, he practices anonymity and experiencesapartness. When the intole rability of separation touches hi m, heturns to love; at first that love is a denial of corrosive history and erodingtime. But when he apprehends a love that has penetrated tim e. he comesto that fulfilling and participating experience toward which all his art hasbeen mysteriously moving. And the whole experience is worked into thegrainy texture of his writings, which pay strict attention to the hard existenceof things. His poetry and his greatest sermo ns are in toto anotherversion of his entire vision. with insight and literal detail ent irely absorbedinto one another" (p. 28t).~ 22. INA. SACHIKO. "Donne no Annivcrsaries-c-Sarani Ueno Yokogini Muketc" [Don ne's Anniversaries-A Step Upward on th e Lad.der]. IVY (Nagoya Daigaku), no. 7 (February); 52-63.Cited in Bibliography of Engli.sh and Renaissance Studies in Japan: I,1961-J970. (Renaissance Monographs. 6), edited by Kazuyoshi Enczawaand Miyo Tab oo. Tokyo: 11 1c Renaissance Institute I Aratake Shuppan.Unavailable.'49 23. JACKSON, ROBERT S. "Doubt Wisely:'- John Donne's Skepticism,"Cithara 8. no. I: 39- 46.Examines the nature of De nn e's religious comm itment and Christianskepticism during his early life, especially as reflected in Satyre 111. Seesthe speaker of the poem as Donne's spiritual, inner. invisible self and theauditor as his fleshly, externa l, visible self. Suggests that Donne was confrontedwith the dilem ma of choosing an "invisible" church (RomanCatholic), made so by political events, and his desire to embrace a "visible"church. which in England of the time was the Anglican. To belong to the"visible" church would have cut him off from his medieval Catholic heritage;to adhere to Catholicism would have prevented him from embracinga "visible" church. Concludes, therefore, that Donne chose the religiouslife of "wise skepticism" durin g this period.~ 24. JEROME. JUDSON. Poetry: Premeditated Art. Boston: HoughtonMifflin Co. xxxi....., 54:tp.Shows how figurative la nguage mod ifies and creates mean ing in "AValediction: forbidding mourni ng" (pp. 1)7-41). Comments on the imager)'.wi t. complexity of tone. uses of paradox, and the spiritual tempe rof"Batter my heart" (pp. 300-3° , ). Suggests that Donne's "three-person'dc oer "looms a little like a multi-headed monster of mythology and thu s

,8 • I'.,68J fohn Donneundercuts cred ibility" and that the notion of God as a tinker (line 2) "seemssomehow am using, condesce nding, a tonality which works aga inst thepassion and violence the quatrain calls for" (p. 30 2). Contains referencesto and examples from Donne's poetry th roughou t.~ 25. KILEY, FREDERICK. "A Larger Reading of Donne's 'A Lecture Uponthe Shadow.'" CEA 30: 16-17_Argu es that th e cru x of the m ajor conceit in the poe m is th e com pariso nof the progress of the lovers' love to the progress of the sun in its orbit aminot the issue of which way the lovers walk or what way the shadows arccast: ''111Cpoem is really focused upon the moment of noo n at which thelovers pause and the little lecture in 'Loves philosophy' is delive red" (p.17). Co mments on the structure of the poem and shows how Donne effectivelycombines poetic insight, dialectic, and rhetoric to create a profoundpoem about "the sadness which comes with insight into the rhythmof Crea tion" (p. t 7).~ 26. KW.MMER, EN :'>IO. "Cosmography in Donne's Poetry." Cresset(Valparaiso V.) )2: 14- 15,Discusses Donne 's usc of Ptolemaic cosmography

A Bibliograbh» of Criticism~ 29. MACCOLL, ALA . " New Manuscript of Donn e's Poems." RESn. . 19: 293- 95.Describes a man uscript in the Halkett of Pitfirrane paper in the a­lional Library of Scotland ( I . 6504) that contain ' over forty poems bDonne and com ments on the relationship it ha with the Hawthomdenmanuscript compiled b William Drummond.~ 30. 1 IcQUEE , WILLIA 1. "Prevent the Sun: Milton, Donne, and thcBook of Wisdom." i ilton iewsleiter 2: 63-64.Suggests that o. 79 of I onne' LXXX Sermons provides an intere linggloss on the induction of Mi lton' Nativity Ode. Points out that Donnequotes from and elaborate on a pas age from the apocryphal Book ofWisdom 16:18: "It is the counsell of the wise men, Prevent the SWIne togive thanks to God, and at the day-spring pra y unto him."~ 31. MAHL, MARY R., eel. Seventeenth-Century English Prose.(TheLippincott College English Series, gen. ed. Albert J. Guerard.)Philadelphia and New York: J. B. Lippincott Co. xix, 584p.Anthology of representative prose selections, arranged chronologicallyto show the development of certain genres and of prose style during theeventeenth century. Present selections from Donne's Biathanatos (pp.-17), Ignatius his Conclave (pp. 17-21 ), Devotions upon Emergent Occasions(pp. 21- 34), Deaths Duell (pp. 34-52), and Sermons XXVII andLXVI (pp. ;2-56), preceded by a brief biographical chronol ogy (p, 7).Reprints selections from essays on Donne's prose (pp, 480-91 ): GeorgeSaintsbury English Prose (1 94), pp. 3-85; (2) Austin Warren, "Theery Reverend Dr. Don ne,' KR 16 (1954): 268- 77; and (3) Evelyn impson,A Stud y of the Pro e 'Narks of John Donne, zd ed. (Oxford: ClarendonPress, 194 ), pp. 165- 70, followed by a elected bibliography (pp. 491­9 ~ ) ·~ 32. MARon i, HTHUR F. "Donne's 'Loves Progress,' II. 37-38, andRenaissance Bawdry" ELN 6: 24-25.Points out that when Donne in "Loves Progress" says "Nor is the soulemore worthy, or more /it / For love than this, as infinite as it" (lines 37­38) he is alluding to the popular joke about female sexual organs-thebottomless or virtually bottomless vagina. Cites additional examples of thejokein Shakespeare's Romeo and [uliet and in Jonson's Bartholomew Fair.~ 33. MERRILL, THOMAS F. "John Donne and the Word of God." NM69: 597- 616. Reprinted in Christian Criticism: A Study of LiteraryGod-Talk (entry 846), pp. 159- 77.how that Donne' und erstanding of the nature of preaching as acramentalevent and the role of the preacher as an instrument tluough \ hichhe Word of God was mediated to man distinguishes him from the Anglo­Catholic po ition and plac him on the side of the Puritan theorists.

[ohn DonneSince Donn e views the sermon as "no mcre discourse, not even a sacredpre pa ration for some ensiling sacramental encounter with the Holy Prescnce'but rath er as "a dynamic, corporate event invok ing preach er, congregationand the Holy Spirit" (p. 597), he constructs his sermons "toproduce crisis, to change men 's lives by bringing them into direct confrontationwith their God" (p. 613 ). Concludes that the primary appeal ofDonne's sermons is, therefore, not to the intellect but to the conscience.~ :14. MILLS, JERRY LEATH. "Donne " Bracelets of Bright Hair: An Analogue:'J &Q n.s, 15: 368 .' uggests a close analogue between Donne's image of the amatory tokenof a lock of hair in "T he Funeral!" and "T he Relique" and a similar imagein john Leland 's Asser/io inclylissimi AT/uri (1544), which was translatedby Richard Robinson in 1582 as A Learned and Truessertion of theoriginal, Life, Actes, and death of. . . Prince Artlltlre. otes that Leland ,following an account found in the works of Giraldi Cambrensis, describesthe exhumation of remains thought to be those of Arthur and Guinevereat Glastonbury in 1191 and notes that in the tomb a yellow lock of woman'shair was discovered.~ :15. lvIITCHELL, CHARLES. "Donne's 'The Extasic': Loves SublimeKnot." SEL 8: 91-101.Argues that in "The Extasie" Donne demon trates "not merely figurativel)/.but quite literally, that the union of man and woman in love createsthe fusion of male and female clements-soul and bodv-i-within man"(p. 93 ). Observes that in the love ecstasy, the soul, freed 'from its body, istransplanted in the richer soil of the beloved's soul, thereby gaining trengthand new knowledge about itself and its relationship to the body. otes thatwhen the soul returns to the body after the ecstasy, a fully human synthesisis c ffi~ cle d between body and soul.~ 36. [M OR AN], SISTER MARY CAROLINE. "The •xistential ist Attitudeof John Donne." XUS 7= 37-;0.Finds traces of existential thinking in Donnes early life and works. Readsthe poems as autobiographical statements and suggests that Donne's disappointmentor dissatisfaction with human love, his doubts about the relationshipbetween the body and soul, his sense of incompleteness andrestlessness, his personal views on man 's relation to God, and especiallyhis subjectivity and reliance on experience can be compared with modernexistent ial thought, especially with that of Jean-Paul Sartre. Suggests thateven in later life Donne retained many of his existential concepts butdiscarded those elements that would have brought him to a totally materialisticview of the world.~ : ~ 7 . MUIiJ...LER, JANEL M. "The Exegesis of Experience: Dean Donne'sDevotions UpOIl Emergent Occasions." IEGP 67= 1- 19.Argues that Donn e's highly metaphorical treatment of Scripture in the

A Bibliograph» of CriticismDevotions upon Emergent Gccasion« is a. important as are the meditativeelements identified in that work. Cites certain thematic, verbal, and imagisticparallels between Donne's method in the Devotions and in his sermons,especially in a series of sermons delivered in 1613 on P alm 6.Views these ermons and the Devotions as "essentially two versions (onepublic, one private) of an attempted running tran lation of a segme nt ofexperience into spiritual terms" (I'. 13). Argues not only that Donne adaptedexegetical techniques to devotional purpo cs in the Devotions but al.a thathis experience with the Devotions gave him "a greater awarene s of thesuggestibility of Biblical metaphor than he had previousl had" (PI'· 17­I ) , an awarene s that is subsequently reflected in his sermons.~~ 38. lURAoKA, ISAM u. "Donne to Cu sanus" [Donne and C usanus],EigoS 1\4: 216-1 7.Discusses the possible infl uence of Cusanus on Donne's attitude towardknowledge, particularly his belief that one approaches truth only by realizingone's ignorance.,~~ 39. MURRIN, MICHAEL. "Poetry as Literary Criticism." MP 65: 202-Comments that in their clegie on Donne both Carew and Lord Herbertof Cherbury consciously imitated Donn e's style and wit only to showthat the uniqueness of Donne's art cannot be imitated.~ 40. AKADA. AKIHlRO. "John Donne no Shiien- Hart Cran e e noEik 'if' [john Donn e's "T he Expiration " and Its Influence on HartCrane). Eihungaku (Waseda Daigaku), no. 32 (March): 6 - 77.Cited in Bibliograph)' of English and Renaissance Studies in Japan: I,1961-197° . (Renaissance Mon ographs: 6), edited by KaZlI '0 hi Enozawaand Miyo Takano, Tokyo: The Renaissance Institute / Aratakc huppan.lnavai luble,"G~ 41 . ONIZUKA, KEIICIII. "T he Evolution of Love and Its Limitations:On John Donne's 'Heavenly Love,"in Maekawa Sliuniclii KyojuKanteki Kinen-ronbunshii [ •ssays and Studies in Commemorationof Professor Shunichi Mackawas , ixty-First Birthday), pp. 65-78.Tokyo: Eihosha.Disc usses Dunne's evolving altitude toward love throughout his life.I\rgucs that even in his secular love poems he yearns for ecstatic uniontween lovers and thus ultimately finds all human love disappointingnd imperfect. ees the two Anniversaries 3 5 transitional poems that comemoratcDonne's conversion or emancipation from human and earthlye ta piritual and divine love. Maintains, however, that he never fullyhieved mystical union with Cod becau e his own ego, hi overly develd'lise of sin, and his doub ts made this kind of annihilation irnpos­Ie for him. tresses that even in thc Holy Sonnets and in hi other

" . 1' 0681 fohn Donn ereligious poems Donne primarily dramatizes him self and his spiritual quest.always more fascinated by his own spiritual responses to C od than by Codhimself. Argues that, for Donne, Cod was always distant, always the Othe r,and that in the sermons Donne presents a rather negative altitude towardmysticism , preferring reason and ecclesiastical discipline as more appropriatevehicles to faith and to Cod . Co ncludes by showing that, althou ghDonne surrenders himself fully 10 Cod , his religion is primarily public,not private; imminent. not transcendent; and by pointing oul that theecstasyof love, so yearned for in the love poems, is absent in the religiousIXlCOlS. in which Donne's egoand acute self-awareness still keep him fromtranscending himself~ 42 . PETER, H ARRY W I:"lFlUD. "Dunne's 'N cctu m all' and the Nigredo."Thoth 9: 48- ,i .Explicates "A noc tur n al] upon S. Lucics day" as a meditation on themetaph ysical problem of being and nothingness that allows the poet toregain tranqu illity and hope after the death of his beloved. Suggests thatthe poet's psychological state, his dark night of the soul, is similar to thealchemi cal state of Nigredo. Argues that through this analogy the poet isable not only to describe his black condition but also to find a solution tohis metaphysical problem. Suggests that from the state of Nigredo the poetis transformed into a more perfect being and thus readied for a more completeand spiritual contact with his lost beloved...~ 43 . Pmn·.:ROY, EU ZABETII. "Donne's The Sunnc Rising" · Expl 27:Item 4.Points out that in " Th e Sunne Rising" Donne resolves thc can Aid betweenthe external world and the internal world of the lovers by a subtleprocess of inversion: the microcosm of the lovers' subjective world becomesthe macrocosm, and their metaphorical realm thus becomes theonly truly valid world in the poem. Suggests that what began as merelyplayful wit is trausfomu..xl by the conclusion of the poem into a seriousvalidation of subjective reality...~ 44. PR.F..'iCOT1·, /\ ~ :"lE LAKE. "T he Reception of Du Bartas in England."SHeIl 15: 144- 73.Discusses the enormous popularity and influence of the French Huguenotpoet Cuillaurne Salluste. Sieur du Bartas. in Renaissance Englandand claims that he probably was "the most admired of contempo rary Europeanwriters. if one excludes Erasmus and the chid figures of the Reformation"and that"h is lengthy desc riptions of the creation and history ofthe world received an adula tion seldom given far better poetry" (p. 144).Notes that significantly Donn e and the other metaphysical poets do notmention Du Bartas. even though his conceits and images "arc sometimesso striking that it is tempting to sec them as in some sense 'metaphysical"(p. 172). Points out, however. that "the intention behind them is wholly

A BibliogralJhy ofCrificism 23different from Donne's," for Donne' conceits are used to "advance hispsychological drama or complicate his tone and logic, but those of DuBarras usually add only to the external pleasure or vividnessof his descriptions"(p. 1 2).~~ 45. PROSKY, MURRAY. "Donne's 'Aire and Angels.' " Expl 27: Item27·Points out that, in addition to meaning a small reconnaissance vessel,the word pinnace also meant a prostitute in the Renaissance. Suggests thata possible paraphrase for lines 1;- 18 of "Aire and Angels" would be: "Irealized, or materialized. the ideal object of my love to uch an extentthat she looked like a bawd making a vulgar display of her wares. Consequently,admiration sinks from its ideal object to an object of sensualityand lust." Suggest that this possible mocking undertone of antifeminismprepares the reader more adequately for the more obvious antifemininetone ofthe last three lines of the poem."46. !t\WLINSO" D. H. "Contrasting Poems: Jonson's 'To Heaven' andDonne's Thou Hast Made Me,' " in The Practice of Criticism, pp.104-1 3. Cambridge: Cambridge University Press.Contrasts Jonson's "To Heaven" with Donne's holy sonnet to show thedifferences between two poets of the arne period writing on a imilarsituation. Suggests that Donne's poem is characterized by its elaborate andingeniou use of metaphor, it ability to re-create a high moment of personalcrisis, its dramatic vividness and intensity, and its control of movementand inventiveness. Jonson's poem, however, is characterized as clear,terse, and traditional. Though lacking in drama and in elaborate uses ofmetaphor, it shows Jonson's power to resolve "muc h experience into incisivegeneralised moral statement" (p. I 13).~ " -+7. RE D, ARTHURM., II. "Robinson's 'The Man gainst the Sky"Expl 26: [tern 49.Suggests that Edwin Arlington Robinson alludes to "Goodfriday, 1613 .Riding Westward" in his "The Man Against the Sky." I otes that Robinsonpunson the word SUIl and maintains that his "feeling of naturalistic futilityis, then, perhaps better appreciated and understood with the light of Donne's'P1111 upon it."..~ 48. ROBERTS, JOHN R. "Donne's atyre III Reconsidered," CLAJ 1 2 :10 5- 15.Explicate Satyre 1/l. points out the theological significance of placinglith on a hill or mountain in a poem on religiou quest, and insists thata orrect understanding of this positioning is a central key to the meaningthepoem. Argues that Donn e locates Truth on thc huge hill "to suggestt truth must finally come from God, that is God manifcsting Him elfII theophan y, and that all man can do to achieve Truth is to open himself

fohn Donneup to the experience as generously as possible and prcpare himself byconstant vigilance, searching, study, and asceticism so that he \\;11 he ableto receive and, in some lim ited sense. deserve this enlightenment anddirection from G od" (p. 113).

A Bibliogra phyo(Criticism [,q68J • 'i'4l~ 52. SMITH, RARJM RA H ERRNSH:lN. Poetic Closure: A Study of HowPoems End. C hicago und London : The University of Chi cago Press.xvi, 289p.Quo tes Donne on the importance of poetic closure (p. 37) and pointsoul how "Hero and Leande r" (pp, 204- 6) is "a virtuoso-piece of verbalsymmetry; eco no my; ami cohe rence" (p. 205). Comments especially allthe h)'perdetermilldlion of the closing of the epigram, that is, when "structuralcompleten ess coincides with an unusually high degree of nonstructuralorder or control" (p. 204 ).'4~ )3 . SPACKS, PATRICIA ;\ IEYER. "In Search of Sincerity." C E 29: 59 1­60: .Discusses the concept of sincerity in poetry and, while recognizing thecritical confusion that the term generates, concl udes that it remains,nonetheless, a useful term that describes "both a quality of the poem anda quality of its effect on the reader" (p. 5( 1). Commen ts on "TIle Flea"(pp. , 93- 94) ill order to show that "playfulness can itself be a mode ofsincerity" (p. 593). Argues that the frivolity in the poem involves seriousmeanings and that "the 'seriousness' of the conclusion is part of the fi nalcontemptuous joke all the woma n, as the speaker for the moment acceptsher system of values and turns it against her" (p. 594). Argues that Donne'smain point in the poem "is not seduct ion but the assertion of the complcxityand importance of personal experience" (p. 5( 3). Suggests thai in"A Valediction: forbidding mourning" the sense of sincerity is generatedby the images and by Donne'sunwillingness to simplify a complex notio n.Concludes that Donne's poetic since rity depends on his poetic techniqueand compares his techn iques for achieving sincerity with those of Popeand Eliot.~ ;4. SULl...IVA~, NANCY. Perspective drld thePoetic Process. 'I11e Hagueand Paris: Mouton. ;6p.Explicates the central conceit of "A Lecture upon the Shadow" (PI'.23- 2; ), pointing out how Don ne fuses "an intellectual conceit on to anemotional situation" (I'. 24). Suggests that the "metrical, almost metron omelikeprogress of love" in the poem "gives us an almost scientific view ofperspective andthe poetic process" (I'. ~5 )....~ ;;. T HOMSON, A [NDREW] K [ILPATRICK]. "The Metaphysical Poets,"in A Reader's Guide to the Poet's Pen, pp. 26-32. Brisbane: JacarandaPress.Commen ts briefly on the metaphysical poets and certain major characteristicsof their poetry (I'. 26) followed by notes or glosseson individualwords and phrases in "A valediction: forbidding mo urning" (p. 27) and"Atthe round earth s Imagin'd corners" [p. 28).

Joll11 Donne~ 56. THU1\1Il00, E DWIN . "Donne's 'The Bracelet (Elegie Xl),' I 13-114."Expl '2 7= Item 14.Shows how in the last four line. of 'T he Bracelet" Donne wittily playswith the medically accepted notion that gold was a cordial or restorative.Iotes that Donne asks the finder of the bracelet to return it since, goldbeing restorative, the gold bracelet should be re tored to it. rightful owner.If the finder will not return the bracelet, then Donne hopes that the goldwill, metaphorically speaking, be in the fi nder's heart and thus restore himto moral health .~ 57. TRAGI , PHIUP. "The Supposed New Rhetoric of Donn e's Songsand Sands." Discourse 11: 98 - 1° 7.Argues that Donne did not reject rhetorical ornamentation in his poetrybut rather assimilated completely the existing rhetorical tradition to hisown purposes. Claims that the truly revolutionary quality of Donne's poetry"is due not so much to his having discarded the chain s of Elizabethanconvention, but rather to his having employed the links with such colloquial,dramati c, and even comic freshness, that the chains became notbinding, but both useful and decorative- fulfill ing the highest demandsof the poetry of any age" (p. 10;).~~ 58. WALCUTT, C IIAI~LES C IfILD, AND J. !'.,DWIN WHITESELL, eds,"Donne," in The Explicator Cyclopedia , vol. 2 : Traditional Poetry:Medieval to Late Victorian , pp. 96-1'26. Ch icago: Quadrangle Books.Lists forty-three items that appeared between 1943 and 196 '2 in TheExplicator, all of which arc fully annotated in John R. Roberts, John Donne:An Anl10tated Bibliograph y o{Modem Criticism, 1912-1 967 (entry 595).~~ 59. W EBBEn, JOA . The Eloquent "I": Style and Self in Seventeenth­Century Prose. Madison, Milwaukee, London; The University ofWisconsin Press. xii, '298p ."Donne and Bunyan: The Style of 1\\'0 Faiths" (pp, 15-52) reprintedin Stanley E. Fish, ed., Seventeenth-Century Prose: I lodem Essays inCriticism (entry 308).Discusses the phenomenon of seventeenth-century literary selfconsciousness,which includ es "consciousness of self as subject, in all therichn ess of the self as product and maker of his age; consciousness of selfas stylc and thereby as a way of linking , ubject with object; consciousne sof self in the eyes of the reader, or object, which mean s either oppositionto or union with that reader" (p. 4). In "Donne and Bunyan; T he Style ofTwo •aiths' (pp. 15-52) compares and contrasts Donne's Devotions uponEmergent Occasions and Bunyan 's G race Abounding to show that the former'sprose is "analytical, psychological, subjective, meditative, private,self-centered, and literary" while the latter's is "reportorial, straightforward,apparently objective, taking place in public, and inviting the readerto see him as an instrument to use rather than an object of contemplation"

A Bibliogra phy of Criticism(p. -1). Show how Donne turns life into art and "constructs a symbolico mic personality that delights in stylistic complications. and even inph yruJ and recreative devices" (p. 252) so that in the Devotions Donnebecomes "subject. object, and critic of his own work" (p. 252).•.'-" 60. Y K YI',\ . NAKAz6. "John Donne to Schola-tctsugaku" [John Donneand Scholastic Philosophy]. EigohulIgaku Seleai (Eichosha. Tokyo)2, no 12 (March): 33- 35.Cited in 13ihliograph )' of Engli.~h and Renaissance Studie« in Japan: f.196J- 1970. (Renai sauce Monograph s: 6), edited by Kazu yo hi Enozawa:md Miyo Takano. Tokyo: The Renaissa nce Institute I Aratakc Shuppan.navailable..~ " 61. . "john Donne to Shi" [john Donne and Death], KiYrl(Kyoyobu. T olioku Daigaku) no. 9 (December): 123-39.otcs that Donne was obsessed with death throughou t his life and exploresorne of the reasons for his obsession. Comments on the theme ofdeath ill Donne's poetry and prose, especially in "The Funeral],' th e ATIntversaries,and several of the sermons.•~ 62. Yo HIDA. SACIIIKO. "John Donne no Shi ni okeru Parody-tckiY6 0" [T he Parodic Element in John Donne's Poetry]. Kiyo[imbunkagaku-hen) (Mukogawa Joshi Daigaku) no. 15 (March): I 19­24 ·Suggests that in his love poems Donne parodies the Summa Theologicaor SI. Thomas Aquinas. Notes, for example. that Aquinas's equation betweentrinity-trini tas and one becomes in [ anne the union of lovers whobecome through their [ave a single entity. Points ou t that Donne realizedthat . permamcnt union of two into one does not exist in reality butplayed with these parodic variations on Aquinas in a witty manner.1969""l: 63. AI?AWA, YOSHIli ISA. "John Donne in The Progiesse of the Soule."Bunkei Ronso (Hirosaki Daigaku) (Bungaku-hen V) 5, no. 3 (December):19- 35.Presents a critical reading of The Progtesseof the Soule and discusses thehi.torical und social background of the poem, Suggests that Donn e wished[0 point to the in of corruption represented by the female, as well as thein of treason,'4f (lof' A;"IIR. S. jAvED. "C halib and Donne as Love Poets." PakR 17, ii:- of- 58.ompares Donne and Mirza Chalib as Jove poets and finds a numberf nnilaritics in their diction, imagery, style, and uses of wit. Notes thatbotharc essentially drama tic poets, usc colloquial language. are often ob-

fah 11 0011nescure, and "look

A Bibliogra(Jh y of CriticismPaul, the early Fathers of the Church, and Martin Luther. Read "Battermy heart" as "a passionate account of the work of atonement-Creation,Redemption, and Sanctification. in respective quatrains-by the 'threeperson'd Cod' " (pp, 16-1 7).~~ 69. C AVE, T ERENCE C. Devotional Poetry ill France c. 1570-, 613.Cambridge: Cambridge University Pres . xvi, 356P.Surveys late sixteenth- and early seventeenth-century French dcvotiona]poetry and points out certain similarities and differenccs between itand Donne' religious poetry. Notes, for example, that French devotionalpoetry docs not contain any "personal statement as forceful as Herbert'sTheColla r and Donne's Good{rida y, 16' 3. Riding Westward" (p. 307) andstates thai, on the whole, the French devotional poets, unl ike Donne, arenot major poets. lotes that an image used in the prologue of Luis deGranada's Le Vray chemin closely resembles that of Donne's "Batter myheart" (p. 36n) and that the opening lines of A. Favre's sonnet 40 in Centunepremiere de sonets spirituels de I'atnour divin ei de la penitence resembleDonne's "0 , my blacke soule" (p. 240n)..~ ~ o. CIRILLO, A. R. "T he Fair Hermaphrodite: Love-Union IJ1 thePoetry of Donne and Spenser." SEt 9:81-95.Discusses the image of the hermaphrodite as a tapas of Renaissancepoetry for figuring forth or symbolizing the concept of love-death andpirituaJ union, a union "in which the lovers an: united a that they becomeone another, not physically but spiritually, by means of an ecstasywhich anni hilates those barriers separating them" (p. 85). Points ou t thatthe image of the hermaphrodite is basic to the context of "T he Extasic.""whether Donne was using it eriously or cynically" (p. 90). Notes furthe rinsta nces of the tapas implied in "Song: Sweetest love, I do not goe," "TheParadox." "The Prohibition," .. Valediction: forbidding mourning," "T hennonization," and "The Relique," as well as explicitly mentioned ill "ToWI t Tilman after he Iwd taken orders" and in the Epithalamion made at/I!('olnes [nne. Compares Donne's use of the image with that of SpenserIn the ending of Book Ill of The Faerie Queene.• 7 1. COLLMER, ROBERT C . "Donne and Borges." RLC 4, :219- 32.Poin 5 out that. although Donn e has recei ed relatively little criticaltl ntion from Spanish-speaking critics and writers, Jorge Luis Borges,. Argentinian winner of the 1967 Nobel Prize for Literature, has beendrnirer of Donne for man )' years. Introduced to Donne through hislllg of "' hornas De Qui ncey, Borges notes in several of his works histniration for Donn e's ability to manipulate ideas, for his imagery, and1 '!fcdive humor. at only did Borges write a critical essay on BiQtobut it has also been suggested that Donne's treatise may haveired "Ties Versio nes de Judas." Finds little direct influence of Donne

[ohn Donneon Borges's poetry but notes some similaritie between the two in certaintechniques and tones.~ 72. COJUN, FERNAND. "A Note on Donne' 'Canonization: " ES 50:89- 93·In part a reply to W H. latchetts "Donne's 'Pcecc of C hronicle" (RESn.s. 18 [1967J: 29° - 9 2). Sees the whole poem as unified by a series ofcontrasts "between wordliness, publicity, vanity, on the one hand, andprivacy, intimacy, preciousness and sacredness, on the other" (p. 9 1). Analyzesin detail stanza 4 of "The Canonization" to show that all the imagesreinforce the contrasts set tip in the poem and that "what i common tothe terms (half-acre) iombes, hearse, Chron icle is the idea of a work of artwhose effect relies more on display and magni ficence, as opposed to verse,sonnets and well wrough t ume, \ hich arc works of art of refined quality"(p. 92). Suggests, therefore, thal the contrast is "one of quality, not ofdimen sion" (p. 92). Notes that the word peece (line 3I) should be interpretedas "a piece of work, product of work, production" and that "this fi tsthe logical succession of words suggesting works of art and more particularlyliterary production, which is the meaning common to tombes, hearse,verse, peece ofChrrmicle, sonnets, ltymnes, half-acre tonibes" (p. 93),~ 73, O W I, MARGARET. cd. First-Line Index of English Poetry , 500­18 0 0 i ll Manuscrlbt» of the Bodleian Library Oxfo rd. 2 vols. NewYork: Index Committee of the Modern Language Association; Oxford:Clarendon Press. 1- 630; ()31- 1257P.Fir t-line index of English poetry (15°0-1800 ) in manu cripts of theBodleian up to 196 1. Five indexes: (1) Bodleian manuscripts listed byshc lfmarks: (2) index of authors; (3) index of names mentioned: (4) indexof authors of works translated, paraphrased, or imitated; and (5) index ofreferences to composers of settings and tunes named or quoted. Contains103 main entries for Donne.~ 74 . DE IS, YVES. "Poe rnes metaphysiques." NRF 17, no. 200: 235­46.Presents a general introduction to metaphysical poetry and commentshrieRyo n Donne's style. Contrasts onne's style with that of the !..dwardianpoets and suggests that English poetry was reinvigorated by the discoveryof metaphysical poetry in the early twen tieth century: "ce fut uncoup de whisky apres vingt ans de tisane" (p, 235). Maintains that onlypersonal taste can determine whether Donne is greater than Milton.Translates into French selected poems by George Herbert, Henry King.Rochester. Marvell, Fulke Greville, and Lord Herbert of Ch erbury, precededby brief biographical sketches of each.~

1'01111 out tha Joseph Wybarne in hi The J ell' Age of Old J 'ames(1 ) quotes line 1 -:?o 3 of Donne' then unpublished Sat re IV (withnh one minor verbal variant from the accepted text). Note thai Wybnrne..ondcmning the Brownists, \ ritc : "But as slacus intend to provethis lirl" to bee no Element, so I thinkc this fervor may be proved to be 110Religion," a reference to De natura caeli trip/ids libelli ires quorum (1597)hy uurndus Aslacus, and suggests that this work may be worth studyingIII connection with Donne's The {i rst Anniversa ry.'4 -noDI " R TIt CHILD, PIII LlPI' E. D ANDRE PIEYRE DE 1v1 NOlAHF . Poemes elisabeihains (152;-16,o). 'Iraduits el p ntes parPhilippe dc Rothschild. Prefa . de Andre Pieyre de Iand iargucs.Introduction de Stephen pender. I otices biographique de ChristophelRicks (translated b. Philippe de Rothschild). Paris: eghers.4 1 5p·Bilingual anthology of nondr amutic poetry from Wyatt to Marvell andVilllghall. "John Donn e (1572-1631)"(pp, 195- 2I J) contains a brief biogruphicalsketch and an introduction to I onncs poetry, foll owed by Frcn htran lations (with English on the opposite page) of "T he good-morrow,""The Indifferent," "T he Baite," "A Lecture upon the Shadow," " ire andn d :' "'111e E. piration ., and "Batter my heart" (pp. 200-211). ot .pp. ~ l 2- 5) and a chronology of major literary and hi torical event. fromthe death of W. att to the death of Marvell (pp. 401-q). Index.'~1 Ii. I NNE, JOHN. Deaths Dvell, or, A Consolation to the oule,againsl the dying Life, and liuing Death of the Bod}' , . . ( 1 6 ~ 2).Meustcn , Eng.: The Scolar Press. [101,4 1.[3]P,Facsimile reprint (original size) of the Bodleian Library copy of the firstedition of Donne's last sermon. delivered at Whitehall on 12 February16 1. R i sued in 1633 but not reprinted eparately since. (STC 03 1).'A~ 7 . . Devociones. ersion v pr61ogo de Alberto Cirri. (Breviariesde Informacion Literaria, 0, 17.) Buenos Aires: EditorialBrujula. 1 ;op.Prologue (pp, 9-12) comments briefly on Donne's prose works and pro estyle and presents a general introduction to the Devotions upon Emergentccasion». Suggests numerous influences on Donne's prose style and worldview such as Latin prose, the Old Testament, St. Augustine, the Vulgate,medieval and Elizabethan poets, and especially Donne's own poetry.Tran lutes into panish the twent -lhrec Meditations (pp. 13-15° ) butexcludes the Expostulations and Pra ers. Index. No notes and no commentary9 ' Ignatius His Conclave. An Edition of the Latin and Englishtexts with introduction and commentary by imothy] . Healy,S. J, London: Oxford University Press. Iii, 175p.

01111 DonnePreface (pp. v-vi ); contents (p, viii); references and abbreviations (pp.ix- x); introduction: r. The Two Versions (pp. xi- xvii), II. Th e HistoricalSetting (pp. xvii-xxix), Ill. The Satire and the Satirist (pp. xxix-xlii); bibliographicalnotc: r. The Latin Text (pp. xliii-xliv), II. Th e English Text(pp. xlv- xlviii), III. Copies Consulted (pp. xlviii-Ii), IV The Text of thiEdition (pp. II- Iii). Latin and L!:nglish texts on facing pages (pp. 1-99),Commentary (pp, 100- 154). Appendix A, "Differences between the TwoTexts" (pp. 1- , - 57); Appendix B. "A l ate on Sources" (pp. 158- 67):Appendix C. "Donne's Collaboration with Thoma s Morton" (pp. 168­73): Appendix D, "A Donne Discovery' (P. G. Stanwood's discovery ofaLatin poem on Ignatius in the Hunter manuscript collection in the Libraryof Durham Cathedral) (pp, 174-75). The introduction traces thebibliographical history of the Latin and lJ:nglish versions and commentson stylistic features of both. Also outlines the historical context and commenton the satirical argument of the treatise. Extensive notes and commentary.t$) 80. . Poems, by f. D. with elegies on theauthors death (1633).Menston, Eng.: Th e Scalar Press. [13].406p .Reprinted: 1970. Reprinted: Hilclesheim and 1 ew York: Georg Olmser lag, 1974.Fac:imile reprint of the first collected edition of Donne's poems (Londun:John Marriot, 1633) with original title page. Reproduced in originalsize from copy ill the Bri tish Library, shelfmark C . 1 I..p 5 (STC 704 5).~ 81. DURAND. L,\U({A C. "Sponde and Donne: Lens and Prism." CL21 : 319-36.Contrasts Donne and Jean de Sponde to show that. in spite of thosecritics who persist in seeing Sponde as a "Donne manque" (p. 319), thetwo poets arc fundamentally unlike and that the difference "is not one ofdegree but one of essence" (p. 336). Comments 011 the religious, love.and death poetry of each to show that there is "a great dissimilarity inattitude, in range of thought and association, in the kind of poetic organizationgiven to the matter dealt with" (pp. 329- 30). Points out thaIDonne's poetry is highly figurative. filled with conceits, witty. and cornplex.It is "richer in variety of mood. tone, image, point of view" (p. 36)than Spondes verse, which is much less complex and lacks metaphysicalconceits and wit.~{) 82 . FIELDING, EDWINA. "[olin Donne and the New Christianity." Thelontl) .p: 194-202.Comments on Donne's conversion from Catholicism to Anglicanismand suggests that many of his writings, especially the Anniversaries, showthat he continued to have, even after his conversion. a great respect andlove for many aspects of the Roman Church.

.\ Bibliography cfCriticinn 333. FLYNN. DENNIS. "Three Unnoticed Companion Essays to Donne's'An es ay of alour.'" B rYPL T : 424-39.Argues that three essays printed under the title "Sir Francis Walsinghamsnatornizing of Honesty mbition, and Fortitude" included inCotioni Posthuma (1651). a collection of Sir Robert Cotton's papers publishedpo.thurnously by [arne Howell, may have been written by Donne.otes that Donne's "An Essav of Va lour" i included in the collection,al ely ascribed to Sidne . uggests that the fa lse ascriptions may havebeen a private joke between Cotton and Donne at the exp ense of theirpatrons.~ 8+. FRASER. RUSSELL. "On Metaphor, Mysticism. and Science."l'vlichQR 8: 49-57.Argues that the usually accepted polarity between scientist and mysticIS not accurate since both share a belief in general ideas and universals.lotes that the pod. on the other hand. "moves, not fro m particulars tothegeneral, but from particular to particular" (p. 57)' He "is satisfied withthe achievi ng of his limited or analogical truth" and "does not supposethat the more imperial ambition of the mystic or the codifier of generallawi. likely to be fruitful" (I" 52). Briefly discusses Donne's view of poetry115 "an exegetical science whose mundane business is with 'such and such"11.1. ~ 2). uggests that hi. poetry "is like hermeneutics, except that thematerial the poet sets himself to gloss is not confi ned to Scripture but isdrawn from the entire range of our experience" (p. 52). Sees similaritiesbetween medieval cholaslici m and much of Donne's poetry since bothstre s that "truth must b discovered in the palpable and particular" (I'.-3). and notes that for the poet, as for the nominalist. "general idea oruniversals do not exist outside the mind that conceives them" (p. 57).uggests that Shakespeare and Donne differ from their predecessors onljindegree: "the kind remain what it was, till worshipful of extrinsic form"(p, 54)·~ 85. GATCH, Mu,TON MeC. "The ixteenth-Centu ry Tradition," inDeath: Mem1ing and Mora lity in Christian Thought and Contemporar»Culture. pp. 1 12 - 2 8 . New York: The Seabury Press.Briefly comments on Donne's views on death (pp. 125-28) as reflectedprimarily in the poetry. Points out Donne's images of death as sleep in twoof the Holy Sonnets and in "Song: Sweetest love, I do not goe" and suggeststhat these images "dramatize the distance between the original approachto death and that of the end of the Reformation era" (p. 128).lotes that, for Donne, "only the body truly sleeps; the soul, which is themore important element of human life. is active but also laval to the body, s it lover" (p. I 28). . ...~ 86. GIFFORD, WILLIAM. "Donne on Candlemas at 51. Paul's?" N&Qn.s, 16: 370-71.

34 • [10691 John DonnePresen ts additional facts that challenge the assumption made by Simp­SOli and Potter in their edition of Donne's sermons (19 53-1q6 .:) that Donnecustomarily preached at St. Paul 's on C andlemas. Poin ts out that in ;1Jetter to George Gerrard (16 29), Donne stales that. beca use of illness. hemust omit his ann ua l C hristmas sermo n at St. Paul's but will make specialarrangements to preach on Candlemas, which, apparently. ....n uld be unusualfor him.

I us e the development of the ode and briefly contrasts the privateice of Donne's poetry with the more public voice of Jonson and thevalier . Point out that, on the whole, the metaphysical poet. do notIppl. the term ode to their elaborate .tanzaic forms. otes two exception :·e11and Lord Herbert of Cherbury, who e "An Ode upon a Que lionmoved. whether love should continue for ever" may owe omething tonn . "The Extasie."'4 ] 91. . "T he [acobeans," in The Verse Satire, pp. 22-34. London:Oxford Univcr ity Pre .urvevs very briefly Donner atires. uggests that it was primarily thetir "which gained for I an ne" poetry in genera l a reputation for mugho. and obscurity which led to its being alrno t universally under-valuedand neglected for nearly three centuries ;Ifter his death" (p. 23). PraisesDonne's Satyres, however, for being "vivid and dramatic in their obscrvaliunof contemporary life" (p, 23)...~ cp. HIR,\BAYMilll , JIRO. "Ignatius Ilis Conclave to 'New Philosophy"Ignatius His onclaveand " ew Philo ophy"]. Kiyo (Kyoto Kyoikuaigaku) (A) no. )4 ( 'ebruary): 67- 2 .ornments on Donne' rejection of Catholicis m and hi. antagoni m\\ rd the Jesuits. otes that. whereas in Pseudo-Martyr Donne's inten­011 was to persuade atholics to take the Oath of Allegiance, hi. purpo c111 Ignatius his Conclave is vituperation against the Jesuits. 1 otes that Donnen \\ the works of op eruicus, Calilco, and Kepler and that he u es thcII w philo ophy" :J ' a killful weapon again t the ignorance of the Jesuits.rguc that Ignatius . hov that Donn e \ a a convinced Anglican at leastur yea rs before hi ordination and obviou I demonstrated to the king\I ability as an Anglican controversiali:t.~~ 93. HI SANO. '"CIIIKO. "John I anne no Paradox-s-Chuki no Skflky6­hi no Baai" [Paradox in John Donn e-On His Religious Poetry inthe Middle Years]. IVY ( agoya Daigaku) no. 8 (March): .P-S5.ited in Bibliography of English and Renaissance Stud ies ill Japan: I,JQ6 J-J 970. (Rennissa ncc Monographs: 6), edited by Kazuyoshi Enozawaand 'liyo Takano. Tokyo: T he Renaissance Institute I Aratakc Shuppan.navailablc,'4 ~ 94. 1-I0DC,\RT. j I TIHEW. " form, of atirc," in Satire. pp. 132- 7.(World Univcrsitv Library ) London: Weidenfcld and licol on .I3ri fly di cu scs the development of formal verse satire during the lateI teenth century and calls Donne "b far the best of the Elizabethan. hrist ., (p. I.p). Points alit that, on the whole, sixteenth-century versetire is "sadly disappointing as poetry" (p. I.p ) but sees Donne as an.ception.

JohII Donne.. Q;. H OWELL, NTIIOI Y. "A Question of Form." Poetr)'R 60: .P--t9.ommen on the question of form in baroque poetry and its 1I e ofparad xand parody and point out that often Donne's poetrycan b . e liedbaroque. Briefly comments on 'T he Flea" and suggests that the flea i aparody of Cupid.~ 96. HUNTLEY, FRAI K L. "Dr. Johnson and Metaphysical Wit; or,Discordia concors Yoked and Balanced." PM/vrLA I: 10 3- 12.Attempt. to view the metaphysical poets from Dr. Johnson's per pectivcb explaining Johnson's use of the phrase discordia concors. Distingui hesbetween "two modes of imitating world harmony," the cia ical and theChristian, and "describe and illustrates the difference in feeling and hapethat one mode produces in Denham and Pope; and the other, in Donneand Herbert" (p. 1°4). Notes that "one pattem imitates the natural balancebetween the elemc nf of fi ssion and fusion; the other more daringlycombines a lower into a higher value to achieve a third" and that "thebalanced pattern is Pythagorean and Empedoclean and consists of two'sand four's; the yoked pattern is Platonic and Christian, and often appearin th rees and five's" (p. 104-). uggests that Dr. Johnson is not ridiculingthe rnctaphy ical poets but views the Augustans and the 111 taphy ical:from a "clas ical" iewpoinl. Concludes that "in theme and form the Augustanarchitectonic of wit. then. and that of Donne and Herbert bothconcern the poets prime function of making artistic order out of the chaosof experience, but Augu tan wit i 'classical' and Donnean wit is 'Christian'in its search for world harmony" (p. 11 2 ).1 97, I. GLlS, Fnso. The Elizabethan Poets: The Maki1lg o( EnglishPoetry' (rom W yatt to Ben Jonson. Literature in Per pcctive. ) London:Evans Brothers, 168p.Di.ell.. e. often neglected Elizabethan poets, warn again t the dangersof the historical classification of poetry. and suggests that the modern enthusiasmfor Donne' poetry ha caused plain-style poetry to be undere ­timated, ampares and contrasts 1 onnes poetry briefly with that of Wyatt.ascoigne, Ralegh, iclncy, Th omas Campion, Fu lke Creville. hakespcarc, Jonson. and George Herbert.~9 98. JEII MLl CH , REI/vIEle Die Bildlichkeit in del' Liebes/)lrik Sir Pltili!JSidney», Michael Drayton»und John Donnes ('As/mphe! and Stella.''Idea: and 'Song» and SOIle/S'). Kie1: Christian-Albrcchts-Univc rsi tnlZlI Kid . 187. xv p.Compares and contrast the uses of metaphor and images in idney'As/raphe{ and tella, I rayton' Idea. and Donne's Song and onet "toa. e the traditional and the non-traditional elerncn in the three collectionto find out what they have in common and where th y differ" (p.I - ). and thu to obtain evidence that would allow for a re on id rationof the question of Donne', so-called modernity and his alleged revolt against

t\ Bibliography of Cri ticismthe prevailing conventions of his day. Surveys the common sources andinfluences on all three poets-the Greek Anthology, Ovid, Petrarch, Ronsard,eoplatonic love theories, Galenic philosophy, and Scholasticismand discusses by means of both historical and linguistic approaches themetaphorical structures, rhetorical strategies, and linguistic devices employedby all three poets. Shows how each uses man y traditional topoind metaphors but suggests that Donne often creates more concrete situationsin his poetry and is often more sophisticated in his uses of images.'tresses that Donne, more than Sidney or Drayton, uses metaphor andimages as tools for logical reasoning and points out that, although he usesgreater variety of metaphors than the other two, he creates somethingnew only in his use of alchemical figures and images of the world. Notes,however, that Donne's use of scientific imagery is not modern in anysense, Bibliography (pp. i-xv).•~ 99. KERMoDE, FRANK, ee!. The Metaphysical Poets: Key Essays onIVletaphysical Poetry and the Major Metaphysica l Poets. Edited withintroduction and commentary by Frank Kcrmode . (Fawcett PremierLiterature and Ideas Series, edited hy Irving Howe.) New York: FawcettPublications. 351P.General introduc tion to Donne and to metaphysica l poetry (pp, lIp).Notes that Donne's "colloquia l harshness, the application of his imagery,his expression, strong argument, persistent dialectical sleight-of-hand,indefatigable paradox, all add up to a new thing [in English poetry]" (pp.20-21 ) but shows also that Donne used traditional themes and methods.:\ collection of twenty-six previously publishe d essays and/or selectionsfrom book-length studies by diverse hands arranged und er five majorheadings: (l )T he English Background, (2) Baroque, (3) Metaphysical Poetic,(4) The Major Me taphysical Poets, and (5) Epilogue. Although mostofthe items in the collection make mention of Donne and arc importan tin understanding metaphysical poetry in genera l, the following arc espciallyimportan t: (1) Frank J. Warnke, "Baroque and Metaphysical" (pp.97- 112), from European Metaphysical Poetry (New Haven: Yale UniverityPress, 1961), pp. 5-21; (2) Carew, "An Elegie upon the Death of theDeane of Pauls, Dr. John Don ne" (pp. 115-17), from Carew's Poems,edited by Rhodes Dun lap (Oxford: Clarendon Press, 1949), pp. 7 1-74; (3)elections from D ryden, An Essay of Dramatic Poesy, and from A DiscourseConcerning the Original and Progress of Satire (p. 121), from Es­.~ (/ y .~ of/olm Dryden, edited by W P. Ker (Oxford: Clarendon Press, 1900),l : ~ 2; 2: )9, 102; (4) "Metaphysical Wit" (pp. 122-24), from Dr. Johnson,"The Life of Cowley".in Lives of the English Poets; (5) T. S. Eliot, "T heMetaphysical Poets" (pp, 126-35), first published in 1921, from SelectedEssays; (6) J. E. Du ncan , "The Background of Eliot's [Donne] Criticism"(pp, 136-45), from The Revival of Metaphysical Poetry (Minneapolis:University of Minnesota Press, 1959), pp. 118-26; (7) A. D. Nuttall, "TheShocking Image" (pp. 146- 57), from Two ConceptsofAllegory (New York:

fohn DonneBarnes and oblc, 1967), PI'. 1-91; (8) Joseph . Mazz 0, " { odernThcoric of Metaphysical Poetry" (PI'. 15 -71), from MP eo (1()5::):96: (9) elections from lzaak v lton, Life of Dr. John I onne (PI', 177­); ( 10) A J. rnith. "I ann' Invention" (pl'. 1 1- :!OZ ). from /o/m Donne''o ng.~ and onet London: '.dward Arnold, 1964), PI'. -26: ( I I) Hel n.ardncr. "The Religious Poetryof John Donne" (PI'. :!0 3- 2 I), from DOllne:The I ivine Poems (Oxford: Clarendon Press. 19;2), PI'. xv-xxxiii: and( 12) A. Alvarez. "T he Carne of Wit and the C orruption of 'tylc" (pp.'331-4,), rom The Schoolof Donne (London: Chatto & Windus, I 61).~ .. 100. KISHL\IOT , Yosurr KA. "The Autumnal]' 0 to hite lita Donne110 Shisei" [Donne's Attitude in "TIle Autumn all"]. Kiyo (Eigol ' ibeiBungaku) (Bungakubu, Baika Joshi Daigaku) no. 6 (I ecember): 49­62.Argues that, although "' 111t Anturnnall" is written in the style of a courtlylyri c, it docs not actually belong to that genre. Suggests thatthe differcncelies in the diction and in a certain lack of refinement, even rou gh ness, ofwit, Finds Helen Gardner's reading of the poem preferable to ,rierson'·interpretation.~ ~ 10 1. K DAM, HI t\ . "Kindai Eikoku Sekkyo Bungaku no Hn ei­Latimer kara Donne c" ["I he Beginning of English Sermon Literature-promLatimer to an ne]. Kenk ' 11 1 tempo (Bungakubu. akll. huin Daigaku) 110 . 1;: 1-40.ornrnents on various difference among the sermons of Donne, RichardHooker, and Lancclot Andrewes. Finds Andrewes more liturgical,Hooker more theological. and Donne more rnetaphy ical and suggthat of the three onne pursue hi argument with greater verve. tressethat Donne' sermon arc fi lled with conceits, arc brilliantl . executed, andarc argumenta tively persua ivc, otes that one feels often that I onne itrying 010 t of all to per uadc himself rather than his congrc ation. Pointsout that Donne was able to develop profound metaphysical argumcnt. outof what for others would have been mere superficial wit and dis usses howDonne divides his sermons into three logically related parts rather thansimply developing his sermons from key terms in the text... 102. KOPPENFELS, W ERNER von. "Donnes Liebcsdichtung und dieTradition von Totters Miscellany" Anglia 7 : 16 7- 20 0 .Traces Dorine's relation hip to the Petrarchan tradition of earlier Renaiancc poetry, especiallya it i reflected in Totters M; cellan " and di .cu c hov Donne transform traditional themes. uch a the theme ofZefiro toma, through the usesof irony Comments in some detail on themin "The Darnpe," "Love diet," and "Twicknarn garden" and not , inparticular, the direct influence of Tuberville on the la I two.

• 10~ . KOR'I t , D )';ALD M. "John Donne's 'Satyres' and a Matter ofRhetoric." HAB 20, iii: 78-81.ontcnds that in Satyre I "the pervasive irony. the histrionics. the hyprbol" and the mock-seriousness all work towards making the satirist anmbiguous figure, one who lacks a firm moral base from which to railtJulhoritatil'cl)' at folly and vice" and suggests that "because of Donne',ilure to cstabli h an authoritative ethos in his peaker, the satire i Hawed"· 0). Argues that in Sat yre lV. on the other hand, the speaker, thoughvittyand hyperbolic. is effective becau c he "stands on a firm moral ba e"tid " 'spouse' clearly-defined values, and no heavy-handed theatric nornythin cI c that would make him ambiguous undermine his po ilion"I.10-1. KRZ ECZKo\\' 1'1 , H E fRYK , JEnZY ITO, AND J lJLl U ~7. zo.W KI , cds, "John Donne ( 1573- 163 1)," in Poeei ;ezyka anglel­,~kiego [Poets of the English Language], 1:4° 8-44. (Bibliotcka pocz]ii prozy ) \Varsa\\,: Panstwowy lnstytul WydawniczyReprinted: 197' , 19 4·ontains a general introduction to I onuc' life and poetry (pp. 40 ­, a . lected bibliography (p, 409). and thirty poems, both eeular andr d. tran latcd into Polish by variou. hand PI'. .P O-44). Brief explantr~ notes on individual poems (pp. 5 I - ~ 2)... 10;. Ku UNOSE, TOSHIHIKO. "The Anuivcrsaries-e-Chuki ni okcru JohnI onuc' [john Donne in His Middle Year -On the Anniverscrfes] .Honko (Kanseigakuin Daigaku) no. 16 (Deccmber): 101-q.rgucs that the major theme of the Anniversaries is the union of theR. hand the spirit and that the main character in the poem i not Elizbtit Drury but Donne himself. laiutains that in The first Anniversary.chand pirit are in conflict and arc separated but that in The second\/II/i\'er arie they become one.• 106. . "John Donne no hukyo-shi-s-Nikutai to Rei" [Johnl oom:' Religious Poetry-Body and oul]. Bungaku Coeaku Ron­Illi (Kan eigakuin Daigaku), (A special issue in honor of Prof. AkihiroTanaka. (April): 4 1-58.Suggests that the relationship of the body aud the soul is centraI 10 theutislic, moral. and religious meaning of I anne's sacred poetry and thaiHI his religious poem he seeks to how how the body and soul arc "one"nd " 11."- 10 . L\w. ICl..AK. DoNALD A. "Donn's aintcd Lovers-Again." en(6: l:l- I .Argues for the unity of thc dramati structure and tone of "The Cannizalion.'Maintains that Donne transforms wit into love in the poem'mel. through his ac thctic structure, reconciles profane and sacred love.

Joh II 1 011I!uggc Is that the central. functional paradox in the poem. one that thereader participate in along with the "you" addre ed, i the realization"that by givin up the world' identification of eeular love with bla phcrnji a way of discovering that love i something more than the ecular worldcould imagine it to be" and that "profane love is more than just erosagain,as the secular world imagines" (p. 13). Suggests, however, that thefina l effect of the poem i ornewhat unclear: "Perhaps what this mean .that the reader feels that the union described in this essay is a union, aharmony, achieved only through wit and art" (p. 19).V!! ~ 10 . L EA. KATHLE ·N. The Poetic Power of Repetition. ( hattertonLecture on an Engli h Poet. Briti h Academy.) Oxford: Oxford 111·vcr 'it Press. 51- 76 p.Reprinted in PBA 55 (197 1): 5 1-76.I iscusses the variety, delicacy, and force of the rhetorical device of repctitionin English poetry. Mentions Donne's "curious mimicking of theslapping of sails" (I'. 69) in his verse letter, "T he Stormc." and also mentionsand quotes from Donn e'ssermon on the text "Follow me, and I willmake ou fi 'hers of men" "with its fascinating exploitation of the logical,connective. and even lyrical effects of repetition" (I'. 70).~ ~ 109· L: VIS. F. R. "'I!.ngli h'- nrest and Continuity." T~, 2

·\ BiblIOgraph y of CriticismI 'Iholici m, h lp explain his inclination to hide himself in satire. Brieflycompares and contrasts Donne with Th omas Lodge and with Pope.11 1. LE COMTE, E DWARD. The J otoriou« Lad)' Essex. J cw York:'I he Dial Pre s. ix, 251 p.Biography of -rance Howard, Count 'S5 of Essex, and later ou ntesof omcrset. Briefly comments 011 Donne's epithalamion written on theca ion of her second marriage (pp. J 3I- B ) and on Donne's friend hipwith Robert Carr, Earl of Somerset.~ 112. L :I{ E. BRE DAN. The Compleat Plea. ew York: Th e VikingPr . x, 1 :?o6p.Di e ll' es the Rca in history and literature and comments on Donne''lie Flea." alling it "the erotic apex of the literary flea" and noting thai:Ift r it "the immoral flea is plainly pornographic" (p. 47).~~ J 13. LE ION. LEE 'r: Approaches to Literature. New York, London.'Ibrouto: Oxford niversity Press. ix. 2.~ p.omrncnts on "The Canonization," . pecially on the subtlety f theructurc of it argument. the ymbolic 1I.C of /lr (line zo), the prcci em arung f ra e line 39). and the killful u . of Imagel}, and metaphorpp, 6-1 . -0-,1. 55). Di cu ses brief how the stanzaic form and meterof the fir t quatrain of ",\ 1 the round earths irnagin'd corners" contributej lhc tone of the poem (pp, 97-98). Comment also on the inadequacyf trunslalion by discussing ubtlcties in "The Extasie" (pp. 1 15-1 6)..... 114. LLOYD, IIt\ RLES E. "The Author of Peace and Donne' HolySonnet XIV"llll 30: :?o 51-'2.uggc that the econd collect of Morning Prayer, the collect for peace,10 lit Jacobean Prayer Book may have suggested the imagery of Cod asenthrall r-liberator and Cod as rapist-chastener in the closing lines of "BatterPI\' heart."- II:; MCPEEK, JAM : ' A. S. "Classical M. th and the Bible in Engli:hLiterature: A Selected Bibliograph ': ' CEA 32: 14-39.elected bibliography of works dealing with classical mythology and theBible in English literature, along with a chronological listing of certainma jor vcr ions or mythic reshapings of twenty representative myths andiblical toties. Cite. Donne's version of the story of Noah's Aood (p, 31)nd III us . of the myth of the phoenix (p. 36), Primary and .econdaryr in luded.- 1 16 . MAIIONY, P T RICK. "T he '\ 11liversaries: Donne's Rhetorical\ pproach to ' vi!."lEGP68: 4°7- 13.R printed in Essential Articles for the Stud)' of John Donne's Poetry.lited by John R. Robert (entry 786), PP. 363-67.

John Donn eSees the An niversaries as "examples of deliberative-epideicti c rhetoric,"as "poems of process rather than fixity, of argu mentation rath er than exposition,"and suggests that "the rhetorical treatment of evil is a key to theunderstandin g of the sequel poems" (p. 407). Argues that to understandthe poems fully on e "must take into account thei r full rhetorical nature,including their chief cause of lament, their restricted au dience, and theirnuanced lrarrnoniza tion and mutuality as rhetorical argum ent based 011the meditative tradition " (p. ..p 1). Poin ts nu t that "as cpideictic rhetoric,the An n i \'er.~a rie s praise the he roine and wha t she represents. and disp raiseworldli ness; as del iberative rhetoric, the poetic dipt ych s persuade the newworld to becom e virtuou s like and through the heroine" Ipp. 4 11-12).Concludes, therefore, that the poe ms possess "an ultimately indissol uableun ion ofepidcictic ami deliberative rhetoric" (p. 4 12).~ 117. MARTZ, LOUIS L. The Wit of Love: Donne, Carew, C rashaw,M arvell. (University of Notre Dame Ward· Phillips Lectures in EnglishLanguage and Literature, vol. 3.) Notre 1),IIll C, lnd.. and london:University of Notre Dame Press. xv, 216p .Series of four lectures (revised and expanded ) that were first given at theUniversity of Notre Dame in March 1968. Chapter I , "John Donne; Love'sPhilosoph y" (pp. 19-58), presents a brief survey of Don ne's career; comments on various portraits of him tha t have survived by \vay of illustratinghis adoption of various dramatic po s c..~ in his poet ry, "his way of con stantlycreating fictional roles out of aspects of his persona lity" (p. 26); and examines h is ph ilosophy of love as revealcd prima rily in the Songs and 50­nets. Argue s that the basic the me of all Donne's love poetr y is "the problemof the place of human love in a physical world dom inated by changean d dea th" (p. 35). Attempts to show how Donn e's "questing m ind revealsan d controls the contraries tha t meet within his being" (p. ; 8) by commentingon his love Ix>cms, especially "Aire and Angels," "Lo ves growth,""T he Funeral]," " The Relique," "The Anniversaric,' "A Valediction; forbiddingmourning," ''111e Extasic," "Lovers infinitencssc," "A Lecture uponthe Shadow" and "On Himsclfc." Mentions Donne throughout- the remainingth ree cha pters, primarily through comparisons and con trasts ofhis poetry with th at of Carew Crashaw and Marvell. Points out th e influenceof Donne, espec ially on Carew an d Marvell , and presents an analysisofCarew's elegy on Denne (pp. 97-100 ).,~ 118. l\I ARTl , LO UIS L., ed. The A nchor A nt/wlag)' of Seven teenth ­Century Verse, vol. I . Edited with an int rodu ction and notes byLouis L. Mart z. (Anchor Seventeen th-Century Series, ACO-13a,)C arden C ity, N .'( ; Doubleda y and Co. xliii, ; 25p.Reprinted as English Sevent eenth-Century Verse, vol. 1 (New 'rork:Norton , 1973).Parts of the introduct ion were originally pu blished in Mauer Poems ofthe English La nguage, edited by Oscar Willi ams (New York: Triden t Press,

t\ Bibliography at" Criticism1066), and in The Poem of the fvtind, by Louis L. Martz ( ew York:Morel niversity Press, 1966).Revised edition of The leditative Poem; An Anthology oi Seventeenth­CeTl tu1")' Verse, edited with introduction and notes by Loui L. Martz,(Anchor Seventeenth- cntury Series. AC6.) Card en City, .Y.: Doubledayand Co., l Q63. The 1963 edition was reprinted in hardback (StuartEdition ), I ew York: cw York University Press, 1963. Discusses in theintroduction (pp. xix-xliii) general characteristics of metaphysical poetrynd iuggeststhat its usc of the argued metaph or, the metaphysical conceit,I i most distinguishing feature. States that "poetry is metaphysical ...when it seeks by complex analysis to fi nd a central principle of being,within the bounds of a given situation" (I'. xxv), Distinguishes betweenmeditative and metaphysical poetry: "A meditative poem . . . representsthe convergence of two arts upon a single object: in English poetry of thelate Renaissance the art of meditation entered into and transformed itskindred art of poetry" (p, xxxii). Analyzes "Hymne to Cod my Co d, in myicknesse" to show the convergence of the two arts of poetry and meditation(pp, xxxi ii-xxxv), Maintains that "the ways in which a meditativectionmay be found in poetry arc manifold: the meditative art is as changmg.resourceful, and elusive as the mind in which the meditation is encted"(p, xlii), Includes sixty-three poems by Donne with notes (pp. 31­132) and cornrneutarj (PI'. 469 - 76).~ 119. 'IAXWELL. J. C. "A Donn e Echo in 'Th e Ring and the Book.'"r&Q. n.s. 16: 208 .'uggesl that Browning likely had Donne's "The Bracelet" (line 112) inmind when he alluded 10 the restorative power of gold in The RiTlg andhe Book I, 89-90).'Al" 120 . J IEADOWS. A. J. The High Firmament: A Survey ofAstronom)'in [English Literature. Leicester: University of Leicester Press. x, 2071'.Comments on how scientific discoveries and trends; especially in astronomy,are reflected in nonscientific English literature from roughly1400 to 1,)0 0 . Mentions ( onne throughout by way of illustration. Showsthat Donne's work reflects a keen interest in the scientific aspects of astronomyas well as in the moral and theological implications of the new disovcriesand shows the influence of the work of Copernicu s, Kepler, C a­llleo, William Gilbert, Sacrobosco, Clavius, Tycho Brahe, and others onhe literary imagination of Donn c.,.; 111. M ENAScE, ESTHER. lnt roduzione alia poesia di John Donne.'liIan: La C oliardica. 249p.zd ed.: 1974, 217p. ("A naked thinking heart": lniroduzione alla poesiaUl foh Tl Donne),Historical and critical introduction to Donne's poetry, especially the ongsand onets and the Divine Poems, for Italian readers. Chapter 1 (PI'. 1-

lohli Donne10) comments on Denne's reputation both in his own time and especiallysince \' 'orld War I and argues that in his love poems and in his sacredverse ~''-l n ne "si eleva 'II di sopra del suo tempo e trova accent! valid; perogni gcn craaione ' (p, q ). Chapter 2 (PI'. 11-36) presents a bio graphicalsketch, based heavily Ull Walton's account. Chapter 3 (PP· 37-4, ) givesall overall view of Donne's works and divides them into three major peri­(xis-those written before his marriage in 1601, those written from 16Ci!until his ordination in 161 5, and those written from di!, until his deathill 1631- and comments 0 11 the posthumous publication of most of hiswork. Chapter 4 (PI'. 46- 84) surveys Donne's secular verse-the epigrams,the "Epithalamion made at Lincolncs lnne," the satires and elegies,tile verse letters, and the Songs and Soners-c-and concludes thatDonne, more than any other poet, "hOI saputo celebrate l'amorc comemiracolo, come sommc bene, cd cspri mere l'estasi dcll'unione totalc conlu persona amata" (p. 84\. Chapter ; (pp. 8;-lCJ3) presents critical analvscsof twenty-two poems from the Songs and Sonets. Chapter 6 (pp. lCJ-+­216) offers a general introduction to the Divine Poems as well as to thetwo Allniwrsaries. Chapter 7 (pp. Z17-48) presents critical analyses oflenof the Hofy Sonnets as wel l as critical commentary on "A Ilymne to Christ.ill the Authors last going into Ccnuany" "Hymuc to God IllyC(xI, in mysicknessc." and t'A Hymnc to God the Father.".~ 122. fl. IILGATE, W[t:su:yl. " l' he Date of Donne's Marriage: r\ Reply"E,\ n : 66-67'Reply to Edwa rd Lc Comic (entry 28). Disagrees with Lc Comic (andLady Mary Clive) that Don ne married Ann More in JanU,II'}' 1602 ratherthan in December 160 1. Points out that the document upon which LeCom tc based his argument "docs not say that the mamagc took place inJanuary dJO I!02. but that in that month Denne and Ann were free of unylither marital obligations and had been properly married " (I'. 66). ,'\ noteby I ~ L. (Pierre Lcgcuis ?) following the article comments on the debateami calls for a closure.•~ 123. ~h:-';ER . E ARL. The l\ fetaph)'Sicaf Mode from Donne to COII" e·,..Princeton: Princeton University Press. xix. 291P.Pages 11 8- 58 reprinted in Seventeenth Century English Poetry: ,\ 'adernEssa ys in Criticism, edited by William R. Keast (entry 328l, pp. 45­76.Pages C)C)-117 reprinted in The Aletaphysicaf Poets:A Selection of CriticalEssays, edited by Gerald Hammond (entry 648), pp. 197- 214.The purpose of this study is "10 discriminate poe tic features tha t areparticularly important to the Metaphysical style and differences possiblewithin the style: in other words, what is lasting and what changes, what i~general to the style and what is peculiar 10 individual writers" (p. xi).Argues ( I) that metaphysical poetry is "private in mode, that it treats timeand place in ways describable in terms of the 'dramatic: the 'narrative:

an -endent. the 'meditative,' and the 'argumentative'c-and that theserrn pros Ide in their equencc orneth ing of a history of the development1elaph. sical poetry" (p. xi); ( ~) that "the wit of letaphysical poetry•n he characterized as definition , thaI is, a those logical or rheto ricalprocesses bringing together or separating (whether in metaphor or idea)matters of similar or opposed classes; ami as thai dialectic, or those prose. thai extend such matters hy their relation in logical and rhetori-,II procedures' (pp. xi-xii); and (3) that "the thematic range of Mctaphysicalpoetry can best be represented ill term of .atiric denial and lyricffinn atJO II" (p, xii), Chapter 1, "T he Private Mode" (pp. 3- .P). arguehe pnvt tc mode is "the chief 'radical' of Metaphysical p etry, thaiture differentiating it from the social and public modes of othcr poetryn n in modern English before th late eighteenth century and the Romanticpoets" (p, x), Chapter 2, "Forms of Perception; Time and Pia c"pp. .J - I 17), explores various "forms. modes and structu res of Metaphys­Ical poems in terms of their versions of lime and space" (p. x), Chapter 3."Wit: I cfinition and Dialectic" (pp. 118- 58), defines the "major featur esf I I mph sical wit in terms reflecti ng the poets' use of an older logic , ndrhetoric" (p. xi). Chapter 4, "Themes: utirc and Song" (pp, 159-213).mment. on "the thematic range of Metaphysical poetry in term ofmplcmentary clements" (p. xi), in term. of ong and satire, "th formerndcncy to ,ffiml:ttion, the latter a tendency to denial , both being cablof xpr ssion in lyricism or in satire, or in mixture " (p. xi). haptcr, 'hree Poems" (pp. 214- 7 1), examines in detail Donne's "The Perirme,'ll crbcrf "The Flower," and Marvell's "Nymph complaining forlhc death of her Faun ." Me ntions I onn e throughout and frequent ly confat him wi th Herbert, Va ughan , rashnw Marvell, Trahcrnc, owlcy,uarlcs, and I rydcn. Argues thai "for \ it. as for other central features ofI taphy ical poetry. Donne is the .rand Master of the race" (p. 146).. mments on the distinguishing feature of Donne' elegies. atircs, lovei , rcligiou poems, and occa ionnl pic e . Considers his concept ofvc. time. and pace; his u cs of th private mode; hi skillful blend ofir and lyric affirmation: his dramati c qualities; the ources of his \ itnd Imagery; hi uses of logic, rhetoric, dialectic, and definition: hi lise 'r he crnhl nnatic and meditative modes; and his adaptation of the Ro­111:111 love elegy. Comments on num erous individual poems, especially"Wonm ns constancy." "The Canonization," "T he Sunne Rising," "TheK lasie." " Val ediction; forbidding mourning," "A nocturnal! uponLu ics day: ' "I wicknarn garden ," "The I rimro.e, the Elegies and Sat 'res.d he two ' \ Illli"ersa ries. Presents a very detailed reading of "T he Perne"(pp. 2 J --"' 1). calling it "the nn I of Donne' elegi and a prempnvcproof th t all of them deserve clo er xamination, and apprccian,than the have had" (p. 231).124. M [N I ~R, EARL, ed. The Works of 101m Dryden: Poems 16 5- 1692.H. 'I: , wcdenberg, [r.. general editor; I ~ arl Miner, associate g 11eraI

[I06

jBiblIOgraph y of CriticismtI c emphasis of the curriculum on logical and dialectical argumentation;) seventeenth-century fondness for word play; (4) the central role thatr ligion played in the formation of the seventeenth-century writer andader: (,) lowell' Catechism a an example and synopsi of religiouidea cnerally shared by writers of the period: and (6) the ba ic principlesbiblical typology and the prevalence of typological thinking in the age.tr . that Donn e's contemporaries viewed poetry as a part of rhetoric,I a elf-expression, Comments on "Loves Progress" (pp. 42- 4 ) "belLJ e it illustrates the effect of intense trainin g in logie and rhetoric uponlit rary tylc and taste" (p. 4 3). Calls the poem "an example of Donne'sd ligh: in the calculated abuse of prescribed formulae" (p..n ) and . ee. it,n part, a a satire on or a parody of scholastici m. Sugge ts that the poemlaS much in common with the Ptaevaricatio that was part of official acadernicdi putations, Briefly comments on the rhetorical .trategy of "A\~Ilc liction: forbidding mourning" (pp, 50- 51 ), "T he Canonization" (p,I , and the Anniversaries (PI'. 51 , 55). Discusses "Death be not proud"1p. 62- 64) to show that Donne's contemporaries would have read thennct a a "cry of anguish," not as an example of Donne's confidence in. mil.: ince "its logic is a serie of false s llogisrns, a hopeless argume ntITI a helpless voice" (p, 63). Comments al 0 briefly on Donne' u e of, pology.• ~ 12 • MURPHY, JOHN. "T he Young Donne and the Senecan Amble."BRlvlJ'vlLA 23: 163-67.ugg t that Donne's Satytes and ver c epistles exhibit a new interestI svnta tical experimentation. a "new and different cnse of the way inrich Engli h syntax, the necessary form of comple te and intelligibleItt ranee, might be manipulated to evoke a new awareness and refocusn oldawarcnc s of the self and the world" (p, 164). Points out that Donn c. plaits and controls the equivocatings of syntax to express, or better, todramatize a genuin ely metaphysical intuition under the aegis of wit" (p.•) and demon trates Don ne's uses of yntactieal ambiguity by comntingon lines from "The Ca lrne," Saiyre 1, and Sat yte 11.~ 12

John Donnefrom the allegorists in that he "achieves immortality not for hi vision butfor himself, dream ing, thinking, and feeling" (p. 1 9~ ) . Compare andcontra ts Donn e with Sidney, Puttenham, Spenser, Jon on, and Herbertand concludes that, although he eludes classification, Donne "belongswith the craft men as a witty maker, but on the crucial matter of audienceaccommodation he ides with penser" (p. 194).,. 130. 'EllS , I A. The Poet Donne: A Study in I-lis Dialectic Me/hod.ark, Irc.: Cork niver it)' Press. 165p.I iscus cs the logical argumentation of Donne's poetry a well as icdialectical tructure and tone and argues that Donn e is a great poet "becaue he take a hard look at reality: the reality of his own complex emotionaland intellectual life. a well a that of the human situation in whichhe finds himself" (p, 4). Traces the ources of Donn e' dialectical habit ofmind to hi own temperament, his environment and times, and to theformulative inn uence of his education at Oxford. Ch apter I , "The MicrocosIIIof the Self" (pp. 7- Jli), discusses the dialectic in Donne's personallife, his own inward drama and conflicts , his sense of dualism am] oppoingloyalties. and comments on "The Blossorne' as typical of onncssubject matter and subtlety. Chapter 2. "T he ~ lacrocosrn" (pp. 20- , I I,discus cs the dialectical external events of Donne'. time, especially theconflict. generated by the introduction of the "new philo phy,' and cornmeritson Donne' relation hip to the poetry of hi age, with an ext ndcdcommentary on" ong: oe and catche a falling taTTC" . nd ....[ he Indif·fercn t." haptcr 3. "' 111c lacrocosm of the University" (pp. 33-; ), exploresthe infl uence of the curriculum at Oxford with it cmphasi: onAristotclianism. dialectical argumentation. and acadcmi disputation, followedby a dcernphasizing of the claims for Ramism. Ch apter 4. "TheI iulectic of Reality" (pp. ~9 - 109 ). exam ines Donne's vision of reality andthe re ulting realism. honest '. and wit in his verse;discusses I onncs u.eof conceit. paradox. and pun a tool. in his dialectical method: and explainsDonn e's endorsemen t of the Ari totclian "1\ lean" in both hi. poetryand .ermon . Chapter ; , "T he Dialectic of Body and 'o lll in the LovePoem s" (pp. I I 1-32). examines the theme of the int crd epcnd nee of tilbody and soul in Donne's Jove poetry, espec ially as seen in "Airc andAngels" and "The Extasie,' and comme nts on his insistence on the importanceof mutual love, especially as evidenced in "T he good-morrow,""The Sunne Rising:' "A Lecture upon the Shadow" and "T he Annivc r­saric." huptcr 6, "The Dialectic of Ultimate Reality in the Divine Poem .s"(pp, 134- 50), di.cusses the Anniversaries, the Holy Sonnets, and "H 'mneto od III ' Cod. in 111)' sickncs c' and challenges Martz's argument concerningthe central importance of meditation in Donne' religious verseMaintains, in the conclu ion (pp. 152-58), that what di.tinguish Donnfrom other poe who employ a dialectical method "i the urgency of thpassion pulsating through the dialectic. transforming it. vcn from thearly day of at ire 1II. from a dusty and coldly-correct academic cxerci.c

ABibliography of Criticismmto a deeply personal search for truth; a passionate analysis of realitynotjust ph ysical or material reali ty-but that metaph ysical reality whi chha its expression in man 's own composite bein g, in all his consc ious statesof thinking and feeling, particularly in the in timate psychos oma tic relationshipof human love, and which can have its denouement only in th eultimate, synthesizing Cause of reality, the very Ground of our Being, theCreator Himself' (p. 154). Appendix A contains a brief passage from M. J.Bremond 's Pra yer and Poet')' (1927); Appendix B, a passage from Book Xof St. Augustine's Confessions. Selected bibl iography.~ 13J. N ICHOLS, J. G. The Poetry of Ben Jonson. London: Routledge& Kegan Paul. x, 1n p.Numerou s references throughout to Donne. Compares and contrastsDonne's poetry with that ofJonson, laments the past unfavorabl e comparions that have been urged by modern critics, and argues that Jonsonclearly "requires a different sort of appreciation from th at whi ch Donnerequires" (p. 147). Shows that Jonson not only admired and appreciatedand even imitated Donne's poetry on occa sion but that he was also fundamentallyjust, not en vious or na rrow, in his criticism of Donne's art.Discusses, in particular, the disputed authorship of four elegies in Underwoodsand agree s with Helen Gardn er that all four poems, ineluding "T heExpostulation," belong to Jonson (pp. 5-7).'4~132. OGOSHI , KAZUSO. "Active and Passive Exp ression ," in Kotoba toShi [Words an d Poetry], pp . 124-31. Kyoto: Aporos ha.Presents a tran slation of "T he Reliqu e" with a brief critical commentary.~ 133. ORlVIOND, RICHARD, AND LEONEE ORMOND. Great Poets. London:Her Ma jesty's Stationery Office. 51p.Reproduces a portrait of Donne by an unknown artist after a 1616 mi n­I lure by Isaac Oliver in the National Portr ait G allery along with "BatterI}' heart," a brief biographical sketch , and a selection from Walton 's Life(Dr. Donne (1670) tha t describ es Donne's appea rance (pp. 14-15).'A~ 1H . aSA WA, MINORU, ed. Sekai Meishi Kansho [iien [A Dictionaryof World Fa mous Poems]. Tokyo: Tokyodo. 468 p. .cveral referen ces to Donne throughout (in relation to T. S. Eliot,owley, George Herbert, Marlowe, and the conceit ). Major entry (pp.1 -7';) presents a brief biographical sketch of Donne followed by a tran s­lation into Japanese of "A Valediction: of weeping." Offers gen eral appreiativecommen ts that point out Donne's blend ing of passion and logic,i uses of logical argumentation , his employme nt of scientific and techticalmaterials, and his uses of paradox.~ 13;. PARTRIDGE, A. C. Tudor to Augustan English: A Stud y in Syntaxand Sty!« from Caxton to J ohn.~on . (T he Language 'Library, ed-

ohn Donneitcd by •ric Partridge and Simeon Potter.) London: Andre Dcut.ch,2.pp.Relates the development of the English language to the literature duringthe period 1485 to I 8- "by anal)' ing the effect of yntax upon tyle,and the importance of grammar to writing generally" (preface). Cornmentsbriefly on Donn e's u e of epithets (pp. 57-5 ) and on hi placingof sono rou words at or near the end of the period in his sermons (p. 223).Presents a hart stylistic analysis of Meditation I of Devotions ulJolIEmergent Occasions: "T his i reflective prose; nevertheless it preserve theu ual structure of Donne's paragraphs in the Sermons, working up to ,IIIeloquent moralizing crescendo, often with resound ing Latin polysyllahie" (p. 74).~~ 136. PERELLA, NICOLAS JAM ES. The Kiss Sacred and Profane: All Illierpretalive llistory of Kiss Symbolism and Related Religio-lEroticThemes. Berkeley and Los Angeles: University of California Press.356p.Briefly comments on Donn e's lise of the kiss in "The Expiration," "ToSr Hem Wotton: Sir. more then kisses," and " Va lediction: forbiddingmourning" (pp. 2r. 239). Discusses also "The Extasie" and concludesthat, although it docs not totally repudiate Platonic love. "it doe argueagain t the 'Platonic' idea that the body is by necessity the soul's tomb" (p.:qo). Qu otes from one of Donn e' sermons that contain a long di qui j.tion on the meanin g of the kiss and says that "it i fa cinating to ce Donnequoting ide: by ide the Platonic kiss conceit (as given by Aulus Celliusland 51. Ambrose on the divine kiss. and just as fascinating to find himmaking the connection between the kiss and death as ways or metaphor.for the soul' piritual migration and union with Cod" (p. 24 3). uggc Isthat "the mo. t compelling idea we find here associated by Donne with thekis - as indeed it wa in the Song of Songs and in medieval writer - ithat love is as strong as death. For it is the 'kiss' that doe now whatotherwise only death can do: unite the soul with Cod" (p, 24 ).~~ 137 . PEROSA, SERG IO. "La poesia metafisica," ill Storia della leiieralurainglese. I : I 16- 24_ (Letteratura Universale, vol. 2 1, ed. LuigiSuntucci.) 1vIilan: Fratelli Fabbri Editori.Comments briefly on the spiritual crises presented in metaphysical poetryand presents a general introdu ction Lo Donn e's life and to his poetryand prose (pp, 116- 20), especially his religious writings. Say that Donne"fu In voce della Chi esa anglicana e. di conseguenza, il pill grande predicatorcdi moda del suo tempo" and calls the HoI)' Sonnets "le cosc pillinten amente religiose che ci abbia dato la letteratura inglcsc" (p, 1::01Briefl: compare and contrasts Donn e with Herbert, Cra haw Va ughan,and Marvell. Mention Donne throughout the volume and call. Death'Duell "il capolavoro del ecentisrno macabro' (p. I 13).

13 P IPER, W ILLI 1\1 BOWMAN. The Ileroi Couplet. Cleveland andLondon: The Press of asc Western Reserve University. xi. 454p.Mentions Donne throughout this brief history of the development ofI heroic ouplet from Chaucer to Keat . Survc s also the varieties of itsIt 1I c and center attention on the years 15 5-17 ; , during which1 lit: "the form reveals a living and developing tradition" (p. .;). ontainnlv-fi\C critical essay on individual poel., including one Oil onnePi> :w6- C) ). Shows tlrat Donne "responded to virtually every aspect ofic heroic couplet which his age had discovered, using the [onu cclccti­. II ' to embellish and enrich his own special creative intentions" (p, 209).111m,ts Donne's Satyre II with Marston's satires to show that annemad, .1 far greater u c and a far more illuminating use of the couplet'nitivc and emphati qualities than tar ton did" (p. 61 ). ote thatnne wrote nearly a rnu h of his poetry in heroic couplet as in allIh 'l lonns combined and suggests that "the satires reveal Donne' rearknblcwit and vigor. probably, bettcr than any other of his coupletrns' (p, 208). Discusses the similarities and di!Tcrences between I anne'sa vr ' /I and Pope' redaction of it to shov that Donne strcs:e wit andrna \\hill' Pope emphasize: politenes and lucidity. Briefly mentionsinfluence of Ovid, [uvcnal, 'lartial. and the medieval complaint onnn 's usc of the couplet.139. QUINN, DENNIS. " I onne and the Wane of Wonder." l';UI 36:(dl- 47·lilt HIt that Donne "stands at the end of the Cia ical-Chri tian tran0 wonder which pre ailed in the We t for ccnturie " (p. 626) and~J a lime when wond -r W'dS beginning to fal l into di repute, di u e,I . bu c. John Donne h lei to the traditional view formulated by thcr l men of the near and distant past" (p, ( 47). Examines this traditionaln pi "b ' observing I onnc's explicit statements about wonder, by coneringlli c practical effect of theory on his poetic practice, and by noting,mg. the tradition upon which Donne drew" (p. 626). how thatnne view of wonder aff, Is not only hi ' intellectual perceptions butII I I , ince wonder \\ elo ely a ociatcd with metaphor and ob­It ', nd al:0 poin s out that Donne' view of wonder help explain his't Ides toward mystery and miracles.- - -. "Donne's Anniversaries as clcbration.' SE L 9: (J7­ios .tinted in Essential Articles for the tud)' of John DonTIC/ Poetry,h\ John R. Robert. (entry 7 6). pp. ,6 -73.rues that the Anniwrsaries arc "commemorative, public. and joyful11 s or praise" and thus "celebratory in the fullest sense of th term' (p.laintains that the poems "confront the full horror of death only tor e inlo the light of Elizabeth's joy" and that the clement of praise"dorrunate the poem i that part of celebration which affirms the

John Donnegoodness of the order of thing " (p. 97 ). Maintains, therefore, that whenDonne "disprai es sin and 'the world', he does not reject Cod's order butrather emphasizes its restoration in the virtue of Elizabeth" (p. 97). Suggeststhat Donne is fully aware of the celebratory and festive nature of hispoems, as reflected in The lirst A1lniversary, lines 455- 66.~~ J.p. Rxco, H ENltY. "The Poet in His Poem ," Poetry 113 , no. 6:4 13- 2 0 .Reprinted in Pl'vt 'ILA 1 (1969): 52-58.Discusses the relation hip of poetry to personality and distingui hes betweensymbol and emblem a "two kinds of sign. or two way of usingigns, each in one of two traditions that have had conspicuous relevancefor the poet in our age" (p. 413 ). Uses several brief examples from Donne'poetry to illustrate the manner, virtues, methods of thought and art, characteristicfigures, and psychology of the emblematic mode.~e;142 . R AUBER, D. F, "Some 'Metaphysical' Aspects of the HomericSimile." C[assical /ollT11a[65: 97-103 .Suggests that Donne's use of the extended figure in stanzas 2 and 3 of"Hyrnne to Cod rnv od, in my sicknesse" can be viewedas "a topologicaldi tortion of the advanced Homeric simile" and "as pressing forwardprocessof poetic complication clearly present in Homer's use of the figure,and furthermore, carrying out the development exactly upon the linalready laid down by the epic poet' (p. 102).~ 143. RoY, V. K. , AI D R. C. KAPOOR. /ohll Donne and tvletaphysicClIPoetry. With a foreword by Vikrarnaditya Rai, I elhi: Doaba House,X,412p.Rev. ed.: 1973. (Part I, Chapter 5 "recast to concretize the affinity betweenDonne' work and life and literature in our own time" [preface Inthe revised edition].)uggests that Donne's poem ' "reveal a synthesis of thc individual. thpirit of the age and of the eternity of truth beyond his age" and attcmp"to show the in eparable bond between his theme and form and to emphasizehis attitude of non-comm itment that forestalls any regimentation"(p. iii). Argues that "Dorine's age must be considered as the beginning ofthe modern age" (p, 148). Divided into two major parts: (1) an introductionto the nature of metaphysical poetry and specifi cally to the poetry ofDonne (pp. 1- 150) and (2) a selection of twenty-nine poems with introductions,commentaries, and notes on each (pp. 15 1-412). Part I is dividedinto five chapter : (1) "The Two World of letaphysical Poetry"discusses the confrontation between the medieval and Renaissance world\~CWS ; (2) "Metaphy ieal Poetry" presents a brief introduction to eighmetaphysical poets-Donne, Herbert, Carew, Cra haw, Vaughan, Marveil,Cowley, and Hcrriek- and to the basic elements and tyle of metaphysicalpoetry, such as its baroque sensibility, its intellectuality and concentration,its "unified sensibility" its uses of wit, conceit, imagery, diction.

Blbliograph)'of Criticismrd ver ification, and its philosophical content; (3) "John Donne: An Atptat an Interpretative Life "ketch"; (4) "John Donne the Poet" com-I n on the influence of the "new philosophy" on the poet's mind andnsibilities and di cu .c theme. and techni ques of his poetry, especially11 attitudes toward love and religion; and (-) "Donne and Our Age" offersk eh of the modern ity of Donn e's poetry and sensibility. In Part II the1 \\ing poems are di:cussed: "'111egood-morrow" "Song: Coe, and catchefulling tarre," "T he Sunnc Ri in g,' "T he Canonization ," "Song: Sweetlove.[ do not goe," "Airc and Angels,' "T he Anniversarie,' "Twicknarnrden," "1\ alediction: of weeping," "The Flea," "A noctumall upon .n re day,"" alediction: forbidding mourning," 'The Extasie," "TheHI orne.' "The Relique," "T his is my playes last scene," "At the roundrU1. irnagin'd corners," "Death be not proud ," "Batter my heart," "Sincehe whom I lov'd," " how me deare Christ," "Coodfriday; 1613. RidingV twa rd," "/\ Hymne La ,ad the rather," "O n his Mistris,' "Going toIcd," Satyre 1/1. The Ptogtesse of the Soule, and the two Anniversaries.~ 144. R UTI/VEN, K. K. The Conceit. (The Critical Idiom, edited byjohn D. jump, vol. 4.) London: Methuen & CO. 70P.Di ell scs the word conceit, the theoretical ba es of conceits, some comntypes, and the decline of its use. Mentions Donne throughout andommcnts briefly on hi usc. of the num erologial conceit in "T he Primre" and hi inver ion of Petrarchan standards in "The Autumnal].'14 - . SA L, G EOR CI~ BRA. D • . "T he Lyric," in Concise Introductionto "I)'pe.~ of Literature in English, pp. i9-41. Philadelphia: 'I11CWaltonPre. .Describes Donne a "intricate, tangled, gnarled, highly subjective,culative. analytical. intellectual, and. although basically logical, prob­I. overrated a a poet bccau c of the extravagant genuflections of theh ntieth-century 'nev critici '01 ' " (p. "3 ). Advises the reader to use disirmnationin seeking out the best of Donn e's poems.: q 6. SAYAMA, l ~ I 1'A R . John Donne: The Middle Phase- Stud)'Chiefl)· of the Anniversaries. (Scijo English Monographs, no. 4.)Tokyo: Seijo University. ii, 137p.Divided into two major parts: "Works in Prose and Verse Preceding the\/lIliversarid ' (pp. 1- 29), with a short preface (pp. i-ii ); and (2)The AIIliversaries(pp. 30-122), followed by a conclusion (pp. 123-36). Part 1urvey for the [apanc e reader Biathanatos, Pseudo-Martyr, Ignatius hisenclave, some of the verse epistles, La Corona, The Litanie, and the Holynnets. Part 2 outlines the occasion and publication of the Anniversarieswell as their critical reception; presents an analysis of the tructure oftwo pocm uggested by Loui Martz and O. B. Hardison; and paraesthe poems, along with" Funeral] Elegie," and comments on theriou. theme in the poem - the "idea of a woman," the decay of the

John Donneworld, and the soul and death. Relies heavily on the critical positions ofearlier scholars, especially Louis Marta. Richard Hughes, and MarjorieNicolson. Agrees essentially with Martz that "considered as a whole, andespecially in their struc ture. the Ann;\'enw. r;es are composed after the patternof the meditation exercises" (I'. 124). Suggests that the middle phaseof Donne's career should be seen as a significant transition between Jackand John Donne and that, while admitting interpretations on many levels,the Anniversaries should be seen as Donne's "struggle in quest of a widermeaning in life" (I'. 127).•~ t -l7. SOI I M ~ IEL , i\.~ NEM AN I E , cd. John Donne IIdcktes f)ellkt:nd€$ Herz;A u .~ seinen poetiscben Schriften und Prosdll'erken. Ausgewablt. ubersctztund eiu gelc itct von Annemarie Schimmel. Cologne: JakobHegner, 19;1'.Anthologizes selections from Donne's poetry and prose. Contains anintroduction (PI'. 11-34) with a short biographical sketch of Donne and abrief history of his critica1 reception through the centuries. BrieAy comparesDonne with Persian poetry. Presents German translations (with briefcritical introductions) from tile S(J llg.~ and Scnets and the Eleg ie.~ (pp. 35­77), Paradoxes and Prublemes (pp. 78-83): both verse and prose letters(pp. 84-96): the D il';IIt' Poems (PP. 97-122); Devotions upon EmergentOccasions (pp. J:!. 3- 78); and till' sermons (PI'. 179 - 9 1). Brief, unannotaredbibliography (PI'. 192- 9 , ).'-4~ q 8. SCHOLES, ROR ~: RT . "Word Carnes," in Elemellts of Poetry, pp.33- ,8 . New York: Oxford University Press.Comments very briefly on Donne's ingenious, ironic, and playful usesof the conceit in "The Flea" (pp. 41-43, 53). Points out that Donne develcpsthe conceit in a highlydramatic context and thus the images ofthepoem become part of the persuasive argument.'-4~ 149. SELDEN, R. "Donne's 'The Darupe', Lines 22-24:' MLR 6+726-27.Argues that Donne in lines 2,2 -24 of "The Darnpc" intends "an indirectbut recognizable allusion to a theme (or 'topes') descended from the CreekAnthology" (p. 727), namely the Spartan cult of an armed Aphrodite.which Donne fuses with the traditional theme of love as war that he golfrom Ovid, Tibullus. and Propcrtius. Points out that numerous Latintranslations of The Greek An thology were readily accessible in Donne'stime; that Donne may have known T Kendell's Flowers of Epigrams (1577),which contains three epigrams on the subject translated into English; andthat the currency of the topic can he inferred from two epigrams of JohnOwen (t607) and that its continuance can be seen in two epigrams inCrashaws Delights of the Muses (1646). Rejects, therefore, Helen Cardncr'ssuggestions that Donne may have intended "in that" rather than "naked"in line 24.

1-0 EYM UR- MITH, MARTIN. "john Donne (c . 15 2- 163I):' inPoets Through Their Letters: From the Tudors to Coleridge. pp. 84­ew York: Holt, Rinehart and Winston.all. Donne "the first English poet whose letters have survived in siglll/icantbulk" (p. 84). Maintains that, although he infrequently ment ionshi own poetry directly in his letters and although few new biographicalevclations emerge, the more than two hundred extant letters provide "anIndispensable picture of their author, which cannot be found elsewhere", ,). Pre ents a detailed biographical sketch of Donne, often quotingIII and referring to his Icttcrs when they illuminate some aspect of hi.11 or literaryactivity. Attempts to show that much of Donne' poetry waaped by hi e rperiences and was not 'imply based on abstract philosophc.aJnotions. Analyzes, for example, "Loves Alchymie" (PI'. 106-12) tob 1\\ how the poem faithfully reflects Donne's complex mental state dur­Ing his middle years. Sees the major thematic concern of "Twicknarn garden"as that of how to love sexually without being selfish and how torfonn sexually without feeling guilt and argues that in "The Extasie"nne dc cribcs and justifies his sexual ideals but argues neither for norinst sex. Suggests that Donne's obsession with death was closely contedwith sexual guilt and that "he wa tormented by the masturbatory,1- atistying, purely relief-giving a pects of his sexual contact with hisfe" (p. 105).I:; I . 11.\wcnoss, JOHN T , AND DAVID RONALD EMMA. cds,Seventeenth-Century English Poetry. (Lippincott College Englisheries.) Philadelphia and 1 cw York: J.B. Lippincott Co. xvii, 636 P.ontains a general introduction to seventeenth-century poetry (pp, I -I nnd n general selected bibliography (pp, 13-1 4). Presents a brief introuctionto [ ormcs life and poetry, with a selected bibliography (pp. 15­. nd reproduces forty-five poems with explanatory notes (pp. 18- 78).';I 1-2. ~ HI 'ODA. H AJIMI::. kfAKO SHIN DA, RI~IJI j lAKAGAWA, YUICHI'A Kr\ ~ IATS U . AXD j UNNOSUKE S WASAKI. cds. Uta to Sonnet [ ongsand Sonets], in Sekai Maishi Shii I . PI'. 3-123. Tokyo: Heibonsha.Iranslalcs into Japanese the Songs and Soneis, with no notes and no0111mentary....= 153. ICHlmMAN, CAROL M ARKS. "The Mocking Voices of Donn eancl Marvell.' BuR 17, ii: 32-46.Comments on the interplay between the poet and speaker of a poemnd ornments specifically on poems by Donn e "in which the speaker isotic pat ing judgment on others but lacking in self-irony, a critic who.t iough he may express some of the poet's ideas, is not his spokesmand who. through orne fanaticism or some exaggerated trait of per onulihimself mocked or at the very least teased by his creator" (p. 34).ialyzes "Confined Love," a poem in which the whole argument of the

fohn Donnefemale speaker "is built on sand; and its collapse mocks her pretentious tologic and philanthropy, at the same time endorsing the idea she opposes"(p. 35). Comments on other mocked mockers in "Breake of day," "Farewellto love," ''111 Indifferent," "Loves diet," "Loves Usury," "Change,""Thc Perfume ," and Satyre I.~~ 15+ IMPSON, ARTHU R L., JR. "Donne's HoI)' Sonnets, i ll." Expl2 : Item 75.Point out how certain biblical allusions in " hy are wee by all reatureswaited on?" explain "why certain normally safe animals are pictureda dangerous" and , more important ly, give the poem "at the literal andtopical level, as \ ell as at that of fi gure and allusion, an additional principleof structural unity which relates basic elements of mood and lone(awe, wonder) to the central theme and paradox of the atonement ."~ ~ 155. STE WART, JACK F. "Image and Idea ill Donn e's 'The Cood­Morrow." Discourse 1 2 : 465- 6.Explicates "The good-morrow" in detail to show that it is "a poem ofecstatic self-discovery and mutu ality, which gives universal reference toprivate emotion. by exploiting Elizabethan geography and chola ti til ­ology, thus mingling lew World, Old \ orld, and Other World" (p. ..m).Argues that Donn e's "dramatic strategy actua lizes the emotion . while Itilintellectual strategy objectifie it. and give it a degree of perrnanen c" (p,473)·~ 156. . "Irony in Donn e's The Funerall ,''' Discourse 12: IQ3-99·Argues that in "T he Funerall' the "mood of seeminglj bitter frustrationi controlled by irony. and refined by a mctaphy.ical apparatus. whi Iblends elements of theology, anatom y, and hagiolatry" (p. 193). Explicatesthe poem, commenting on its dramatic clements, its elaborate useonceit and metaphor, and its wilt)' dialectic, to show that it can be readon two levels: "the surface level of amorous complaint and the underlyinglevel of restrained irony" (p. 197).~~ 157. STRONG, Roy. The English leon: Elizabethan & tacobeau Portraiture.London: Th e Paul Mellon Founda tion for British Art Inassociation with Routledge and Kegan Paul; cw Haven: Yale niversityPress. xvi, 388p.Reproduces the oil portrait of onne circa 1 -95 by an unknown artiand owned by the Marquess of Lothian p, ' 7). Reprints (pp. 35 2--4 III"The Elizabethan Malad /: Melancholy in Elizabethan and Jacobean Portraiture"from Apollo 9 (1964): 264- 69. in which he des ribe the Lothianportrait and all it "the most famous of all the melancholy loveportraits"(p. 353).

BIbliography of Criticismational Portrait Caller)': Tudor & Jacobean Portraits._ , 01 . ndon: Her Majesty' ~ tation ry Office. Vol. 1: T he 'Icxt.. iv, w op.: Vol. 2 : Plates, no pagination.I III rapliicul ketch of Donn e followed hy an iconographical dciptionof 111 oil-on-canvas portrait of Donne ( PC 1849) by an 1111­n wn nrtist (plate I :2.2), an enlarged copy of a III iniature dated 161 6 by:J Oli .r ill the Royal Collection (pp, 65-66). Summarizes the icopllof OIlIlC (p. 66) contained in coflrcy Keynes, Bibliogral)h ' ofrk. of I r. John Donne (zd cd., 1932 ), pp. 1 2-84. In Volume 2r duet . in addition to the aforementioned oil portrait, (1) the LothianIt (plat I I ): ( 2) a portrait rniniatur by \ iII iam 'larshall (platI a portrait miniature by I aac Oliver (plate 120 ); (4) a circularI h an unknown artist, nov housed in the Deanery of I. Paul'sh hal (plate 1 2 I ), a copy of which is in the Dyce Collection in thI na and Albert Museum; and (5) the stone effi g}' by licholas StoneI. Pn ufs athcdral (plate 123).I . STHON " Roy , cd. The Elizabethan imuge: Pa inting i ll England.I - 40-1 6 2 0 . London: T he Tate :allery. 8Sp.produ e. th oil portrait of Donne circa 1595 by an unknown arti I"l ied un cntly bv the Marquess of Lothian (p, 66) and presents ac ription of the portrait.1 . .\ llIH , T OM T. "English Poet , Egyptian On ions, and theI)rotcstanl View of the Eucharist." J1-I1 30: 563-78.I ill!. out that [uvenal in his Fifteenth Satire says that Egyptians nevermious b .cause they believed them 10 be vegetable deities but were nolu taut 10 practice cannibalism. Relate how the onion became a S ' 111­I f cannibalism and was used by writ -rs to attack the notion of theian t Point: a lii, for instance, that in The econd nnivetsarie (line '- I ) I onne juxtaposes onion and corn (wheat) and wine. thu atn"not only the Euchari t but the pri thood that adm ini ter theumion. in c onions repla oil from the traditional sequence, 'corn,and oil: the la t referring to rdination through anointment andmv tic laying-on of the hands" (p. 571). Suggests that by extensionnne also attacks the notion of the remission of sins through Extremetio n aud, because of the traditional association of [uvenals onionslib 'lII l1 tibalisllI, asks "whether cannibalism is really worse than the cal­;{ d" (p, 571). Notes that Anglican onlv remembered Christ's sac-10 the Eucharist, bul Catholic. CIte their od in Holy Communion.I I Iu o» . DO, 'ALD. "Cen 0 hip Bcfor Publication: 14,,-I6c}- ."n \ LOll!: Time Burning: The Iii tor)'ofLitem')' Censorship ;11 ElIland,PI'. -33. London: Routl dg & Kcgan Paul.I A) discusses Donne 's knowledge of Aretina (p, 19). Points out aI of 16 0 0 addressed to Sir Hen ry Wollon by I onne in which Donn e

John Donnesuggests that the condemnation of Aretino by the Catholic Church hadonly served to call attention to Aretino's books. Notes also that in ignatiushisConclave Donne refers to Aretino's "licentious pictures," a reference tothe pictures of Gui lio Romano that accompanied Arctino's Sonnetti Lu,~·suriosi (1; 27). For a reply, sec Anthony S. G. Edwards, entry 412."4

liogruph~ 'orCriticism59CC () the hangeablcnes: and partialit . of human life, a he ,I' erlIllUC value of 'verse'" (p. I ) . ec both n Anatomieand A Funeralla I olin ' defense of verse-Uthe fir I private, the second public:fir I anne defends hi medium for its creative power, its ability toII 'she,' while in the cco nd he defends it as a means of vcrtuous" p. I ). ales thai A/I Al1cJtomie, then. i concerned both withru hng tit death LInd with awakening the world "to the possibilitiesuage in Augustine' terms as a means to teach and to remind" (p,bUI that in the second anniversarj po -rn "verse becomes the dominod, LInd the incantatory rh -tlun which rises only in the eulogi .rams of the Anatomie become pcrvarive of the whole poem" (p.. ribes al 0 n Anatomie as an ne' via negative and Or the Prog­III . oule a. his via af(i rmcJ ti\lcJ and haws that he "reiec thelive in 0 far as it negates his own medium : as eithe r poet or preacher,c nnol reject words themselves" (p. 0). Concludes that "religious f.,il hn.cI p ctic recognition arc virtually indistinguishable in these poems" andgesls thaI "they combine to effect through words the transformation ofnightmare landscape of tilt: fallen world to the vision of hcuve n' (p.5 \V ' I. GER, IVIARYl b : Y. "Donne' Hal)' Sonnets, IV" Expl- : Item 3 .III ut that the ential principle of duality in "Batter my heart"d bevond mcrci ' its paradoxical theme and two kinds of metaphorn lude "duality uf sonnet structure, sentence structure. and dramaticure." Shows that, in addition to the obvious dualities of war andprofane love and .acrcd love, the poem opposes "good and evil,II and counter-natura l force . illegality and legality, reason and pastcaptivity and freedom . active love and passive love. preba pti mal rintbapti mal in, and the oppo it boundaries of time: ' Argues thatI progre sian of antithetical con epts , metaphorically linked and c ul­. ling in iolcnt paradox, reAc ts the divided nature of sinful man and10 unifv the desperate prayer of a upplicant who painfu lly acknowlhiweakness while calling upon :I 'three person 'd God' to exert an r strength thai will assure redemptive union:'166 . W ARNKE, F I{ANK J. "Das Spiclelcrnent in der Liebeslyrik desHarock." ArcClClia 4: 225- 37.'printed, in part, and expanded us Chapter 5 of Versions of Baroque:tean Literature in the Seventeenth Century, pp. 90 -129 (entry 524).I U·se. the erious pia fulncs. in baroque lyric poetry and notes thatoleh leidcnschaftlichen und ticf inn igcn ussagan wic The GoodOM'. ves iniiniteness, The Anni\'erscJrie und The Extasie be c11\ ortn cine piclerische, fast lu tige Atrno phare, ohne dabei den Ern tl sagen irn geringslcn zu beeintrachtig n" (p. 227). Call the ongsorzet ' a veritable compendium of baroque amorous altitudes and

John Donnedi icu e. in particular. the playfulness of "The Canonization" as an exampleof baroque comic hyperbole and compare anne to several Continental baroque poe . in luding C6ngora. Marino, Hofmann waldau.Qucvedo, Saint-Amant, Paul Fleming, and others.~~ 167 . WATSON. CEOI{CE. TheStud)' of Litera ture. cw Yo rk: CharlesScribner's Sons. 237p.Points out that, although I ormcs Songs and Soneis imitate the metric,I forms and even the do trine of earlier European love poetry. thevdo110t merely imitate nor arc they imply parodie of a literary past. Discussbriefly "The Relique' a an example of Donne' complex u e of his literarypast and conclude that the poem clearly cchoe man trands ofalong tradition but that "there i only one thing, in thc absolute sense. thai like this poem, and that is it If" (p. 101). Brief reference throughouto Donne. Comment. on Dryden's Of Dramatick Poesie ( 1668) and callit a "subtly affectionate pastiche of a Metaphysical poem" (p. 99).~~ 16 8. W EISS . W OLFGANG. "Die Air im Stilwandcl." Allglia 87: 201­16 ,Describes the form of the eventeenth-century Engli h lyric as a compoite, pecifically a blend of the ordo naturali poetic vehicle with whapo Is were able to borrow from the available anthologies of airs. Reviewvarious editions of air. a ailablc to poets; comment on lyrical motif,music, melody, and variations: and describes how the air entered the lynctradition and remained a dynamic aspect of the genre. Refers to several ofDonne's poems, by way of examples, specificall y "The triple Foole" and"Lovers infinitenessc." Main tains that the inherited poetic materials remainedprimary but suggests that the musical aspects of the form shouldbe more thoroughly studied.,. 169. WII.J.J.AM. ORDO ' I. ' he Metarnorpho i of an 'Iizabcth:mConceit." Trivium 4: 96-1 07.I i cusse variou u.c of the popular Renais anc theme in Englishlove poetry of the desire of the lover to be tran formed into somethidear and/or near to th beloved. Mentions Donne's u: ' of the theme In" .oing to Bed ," "T he Flea," and a doubtful sonnet. Also suggests thatwhen Donne "wishes to submerge his personality ill love for his mistress,he envisions a two-way process: by some mystic chemistry the lover. willcombine 10 form a inglc cntit . 50 far exceeding the Sll1l1 of it part a tpartake of the immortal" (pp, 10 2- 3 ), a view quite different from thaexpr sed by nacreon: "I nne' i a po itive desire. an urge to escape thgro er trammel of the human condition: the anacrconti mode meangrovelling abasement" (p. 10 ).~,. 170. . "Ophelia's' how' " Trivium 4: 108-11.Discusses the foot as u primitive sexual symbol and comments on th

the shoe (shoe-show) a. a .ymbol for female genitals, especially bybcthan dramatists. Brief sugg ts that lines 4- 6 of Donne's "LovesI ." may be related to the tradition: " orne Syrnetry the foot hathI hat part I Which thou do ' t eek, and is thy lap for that / LovelyU I 10 top, u l not stay at."1 . \\ IID A I. ,CE Re E. "Donne's atirical Progresse of the Sou/e.".LH ,6: :=;0- 64,I at the place and philo ophical importance of Donne' Metemlrsi. in his orpus. rgucs that where Milton's Paradise Lost "tell\ in brought death into the world, Donn e's Ptogtesse of the oule givesrJ

fohn DonneEliot's"T he Metaph ysical Poets: ' TLS. 20 Octobe r 1921. pp. 669-70 (pp,1061- 6 5).~ 174. YOSHIDA, S;\CHIKO. "Futatsu no ;\1lllive rsari e.~ ni okeru Sill toFukkatsu: no T heme- John Donne no Shogai no Turning Point toshite no Igi" [T he Theme of Death and Rebirth in the 'Iwo 1\11111'versaries- Th e Significance of the Turning Point in the Life of JohnDonne]. Ki)'o (Mukcgawa Joshi Daigaku), no. 16 (May): 117- 25.uggests that throughout his early poetry Donn e struggles with thequestion of the mean ing of life and argues that in the Anniversaries hefinds an answer to his search, which is to enter into the "vitaactiva" thaleads from death to resurrection.1970~ 175. AIZAWA, YOSHIHISA. "John Donne to Ignatius his Conclave" UohllDonn e and Ignatius his Conclave] . Bunkei Ronso (Jimbungakuhu,Hirosaki Daigaku) 6: 19-3 .Presents a synopsis of Ignatius his Conclave and comments on its historicalcontext. Argues that in the work Donn e tried to show the foolishnessof attacking the Jesuits and of the entire internecine argument amongthe variou religious sects in general. Suggests that Ignatius reveals tit"ambiguity of Donne's feelings-for he was at once attracted to what w:unew and revolutiona ry and, at the same time, tried to protect the traditionalorder of things.~ 176. I\Rl1I0S, JOIl, . "Corresponden ce." RES n.s. 21: 63.Offe rs an addendum to Rene Graziani's "John Donne's 'The Extasieand Ecstasy" (entry 17). Suggests that Donne's discussion of the relationshipof the lovers in "The Extasie" may have been influenced by GiordanoBruno's discussion of love in his play, Candelaio (1;82).~ J 77. ASHLEY, LEONARD R. N. '''To Touch Any Private.Person Displeasantly':Satire in Elizabethan England." S fL 8: ; - 6; .In part a review of and reaction to Louis Lecocq's La atire en Allgiterre de 1, 88 ci /603 (entry 110). Argues that the roots of Elizabethansatire must be sought not only in [uvenal and Horace but also ill tilEnglish society and temperament of the time: "If Elizabethan atire is Ibe approached with all)' special caveat it is probably that one must takinto account the whole English tradition and not merely the literary Iradition (largely classical), the entire complex relationship between satire aan art and the society that cxi:ts for satire to chide or to giggle at, Icaution covertly or to excoriate blatantly" [p. 64). Suggests that, althoughDonne's satires arc among the best of the period, he docs not achieve himark in the genre as he does in others. Points out a number of possiblereasons Elizabethan satire often seems flat and dull. such as "lack of per

Ilih/iograph )' ofCriticismption or Jack of guts" (p. 61). Argues that Elizabethan satire was "moreretty and merry and conceited and self-conscious than bitter an d tauntlIlgand scoffing and self-expressive" (p, 63).178. BALD, R. C . "Editorial Probl cm s-A Prelim inary Survey," inArt and Error: Modern Textual Editing, pp . 37- 6 1. Essays compiledand edited by Ronald Gottesm an and Scott Bennett. Bloomingtonand London: Indiana Un iversity Press.Briefly notes that G rierson, on the authority of th e manuscripts, alteredie final verb in "W hat if this present were the worlds last night?" fromUrlles to assures, a change that "alters the whole effect of the poem andr ngs it to t he triumphant climax which Donne surely intend ed" (p. 38).I 0 notes the editorial ineptitude sur rounding Donne's letters: "His conmporarieswere interested in the elegance of Donne's epistolary style andfI ingenuity of his compliments more than in the details of his personallations with his friends" (p, 46).~ 179· . John Donne: A Life. Edited by Wesle y Milgate . Ne w 't-York and Oxford: Oxford University Press. x, 627P.Currently the standard and mo st deta iled modern biography of Donne.aid notes that Donne "must be the earliest modern major poet in Englishwhom an adequate biography is possible" (p. 1). Avoids subj ective,tobiographical interpretations of Donne's sermons and prose works, expifor anecdotes and reminiscences found in them, and also avoids lISthepoems as autobiograph y, except for th e verse letters and religiou sms, Surveys the development of biographical study of Donne from~ ltol1 to the present. Contains Wesley Milgate 's introduction (pp. vii-'j , contents (pp, ix-x); references and abbreviations (pp. xi- xii). Dividedeighteen chapters: (1) "Introduction: On Writing the Life of Donne"p. 1-1 8); (2) "Ancestry and Parentage" (pp, 19-34); (3) "Early Life" (pp ,52); (4) "Lincoln's Inn" (pp, 53-79); (5) "M ilitary Service " (pp. 80­2 i (6) "Secretary to the Lord Keeper" (pp, 93-127); (7) "Marriage" (pp.-54); (8) "Mitcham and London" (pp, 155-99); (9) "C ontroversy andnflict" (pp. 200-236); (10) "Abroad with Sir Robert Drury" (pp. 237­); (11) "Steps t o the Temple" (pp. 263-3°1 ); (12) "First Years in the., urch" (pp. 302-37); (13) "In G ermany with Doncaster" (pp. 338-65);) "Promotion" (pp. 366-88); (15) "Dean" (pp. 387-43° ); (16) "Preacherhd Parish Priest" (pp. 431-69); (17) "Active Years" (pp. 470-507); 'and"Last Days" (pp. 508-36). Contains four appendixes: (A) "C hronolofDonne's Life" (pp. 537-46); (B) "D onne's Children " (pp. 547-56);'Donne's Library" (pp. 557-59); and (D) "Appendix on Documents"560-83), ineluding (1) "T he Will of Donne's Father" (pp. 560-61),"Donn e's Will " (pp, 563-67), (3) "Donne's Complaint against ChrisherDanby" (pp, , 567- 69), (4) "A Cipher Entrusted to Donne" (pp.-70), (5) "Draft of Sir Henry Martin's Judgement on Henry Seyliardsim to Keyston Rectory" (pp. 370- 71), ,(6) "Minutes of a Vestry Meet-

John Donneing at 51. Dunstan' -in-the-We r (pp. 572- 73), ( ) "Donne's ddress toConvocation, 1626" PI'. 5 3- 75), (8) "Statement by John Donne thYounge r" (pp. 5T-77), (9) "Pleadings in the uit of ir George Crymesagainst John Donne the Younger" (pp. 577- 83). Index (PI'. 58--6zi),Contains eight illustrations. (. ) William Marshall' engraving (? after thoriginal by Nicholas Hilliard) prefixed to the 1635 edition of Poems. (2)the "Lothian" portrait of I anne at Newbattle Castle, (3) Isaac Oliver',miniature of Donne ill 1616 at Windsor Castle. (4) portrait of Donne inDeanery at 51. Paul's Cathed ral. (5) portrait of Donne (? from the schoolof Cornelius Janssen) in the Dyce Collection at the Victoria and Albertlu eum (presumably a cop ' of the portrait in the [ eanery at St. Paul' ,(6) -lartin Droeshout' engraving of Donn e used as fronti piece for th1632 edition of Deaths Duell. (7) Donne' hcad from Iichola Stone'effigy in St. Paul's Cathedral, and (8) reproduction of Donne's receipt toSir T homas Egerton, from Losely ~vIS . 201 313I in the Folger ShakespeareLibrary and of Donne's letter to Bishop John Williams, from LincolnshireArchives. L.T and D. •626/11.~ 180. BANKS, JASON . oieson theWorks of/olm Donne. Toronto: ForumHouse. 1 17p.Cited in Libraryo{ Congress Catalogs. National Union Catalog. 19- ---'19 7, vol. 9, p. 417. 'IbtO\V"J. .J.: Rowman and Littlefield, 197 . Unavailable.'~9 181. B EWLEY, MARlu ', "The Mask of John Dorine ," in MaskMirrors: Essays in Criticism, PI'. 3-49. New York: Atheneum.Part of this essay appeared in "Religious Cynicism in Donne's Poetry'KH 14 (1952): 619-46; part was included in the introduction to The S ­lected Poems of]ohn Donne (Signet Classics, 1967); and part is newDivided into three ection . ection I traces Donne's reputation anddiscusses the nature of metaphysical poetry. Contrasts ir John Davies'I osceTeipsum (1599) with "111eExtasie" to show that the latter, althoughinformed by philosophical concepts and technical language. is not fundamentallya philosophical poem in the Elizabetha n tradition but rath erexplores the relation hip between the two lovers. Argue that Donne's ma incontribution was not his subject matter but rather "in the creation ofastyle, the revitalization of a language that was on the point of growingtired" (p. 16), as Carev notes in his elegy on Donne's death. Section IItraces Donne's religious heritage and his steps toward Anglicanism andsuggests that Donne's libertine poems may have been written "not a ;Icelebration of sexual experience, but as a subcon.cious trategy to assi •Donne in prying himself free of Rome" (p. 24). Suggests that the Sonand Sonets may be een as "a protracted exercise in how to blunt thprecision of a philosophically exact language and make it unfit for ioriginal purpose" (p. 25). Section III comments on The Progtesse of thSoule to show that Donne's "transition to Anglicanism W:JS not an ea.

"Ip '\ I ) nnd claims that the two Anniversaries are private jokes thaibmte hi departure from Catholicism. Conjectures that Elizabeth Druryyrnbol or the Church: alive, she was the Catholic Chur ch; dead, heri the Anglican establishment. uggcsts that dramatic impact isnne's most striking characteristic and thai "the conflicts in Donne 'sonality. reflec ted so perfectly in his art, his perplexities of fai th andubt, the tortured ambiguity one senses 50 strongly in his motives. hisicisiu and his -capacity for affection. the ironical quality of his self­.}.dgc and his ps chological curiosity-all have a familiar look in ourIp, 49).1 z. BnADBURY, ~' I A LCO L I\I . AND DAVID PAL:-'IER. eds, L\ Jelaph}lsicalPoctry. ( twtford-Upon-Avon tudics, 1 J. ) London: Edward Ar­11 ild: ew York: St. Martin 's Pre s, z8op.illection of ten essays that tries "to reflect the shifts of emphasis thatjJn: taken place since the revival of modern interest in 'metaphysicalI . " and toshow that "there is an evident desire to see these poels incontext . and to relate them to a more varied and extensive awarenesse differ nt kind of poetic activit)' that belong to this period" (pp. 6- 7).ntnins the following: (I) Patrick Cruttwell, "T he Love Poetry of Johnn . Pcdantique Weedes or Frc h Invention?" (pp. 11-39); (2) A. J.th, "The f ailure of Love: Love Lyrics after Donne" (pp. 4 1-7 1); (3)I. Palmer, " he Verse Epistle" (pp. 73-99): (.j.) Louis L. Martz. "Theon of the 'elf: Devotional Poetry ill the Seventeenth Century" (pp.t-:1); (5) M. M, Mahood, "Something Understood: The Nature ofrlcrt's Wi t" (pp, 123- 47); (6) Rubert B. Hinman , "T he Apotheosis ofLl.t: Poetry and New Philosophy in the Seventeenth Centu ry" (pp. 149­(7) Joseph H. Summers, "Andrew Marvell: Private Taste and Publicmen!" (pp. I 81-:?Oq); (8) Brian Morris, "Satire from Donne to Mar­I" (pp, 211- ,,); (9) J. W Saunders. "The iocial Situation of SeventeenthtunPoetry" (pp. Z37-59); and ( to) h ank J. Warnke. "MetaphysicalI.r) :.II1d lite European Context" (pp, 261- 76). Each essay that discussesne has been entered separately in this bibliography.J .. B UTLER, C lIRISTOPHER. Ntimber S) 111bolis111 . (Ideas and forms111 Englisl: Literature, edited by John Lawlor.) London: Routledge& Kegan Paul. xi, IS6p.nhons Donne throughout this study of the history of num erologicalry in English poetry. Di cusses The fi r.~t Anniversar}' (pp. 11 6- zo)maintains that the second and third meditative sections of the poem131h- lines 191-246 and 247-338) "can only be understood in thenf the numerological tradition and its aesthetic" (p. 117). Show howne incorporates newly discovered cientific fact and theory into histr) while al the same time mourn ing the loss that the older symbo lismkled. Bril:Ay comments a ll Donn e's notion of "tuning the soul" innc to 'od my C od, in my sickncsse" and suggests that the source is

lohll Donnethe Republic (I , 442-44) and Phaedro (86- 94) (1'. 129). Sugges thatthlast three stanzas of" alediction: forbidding mourn ing." which cant inthe famous compass image, "can in fact be interpreted as describing thcompletion of a circle. a the)' bring the poem to it full completion 0line . ymbolizing the 360 degrees of a circle" (I'. 134).~ I 4. "HEY, JOII '. "Part III. Seventeenth Century Pro e," in Engli hPoetry and Prose, 1540-1 674. edited by Christopher Ricks, pp. 3904 31. (Hi.tory of Literature in the English Language, vol. 2. ) London:Barrie & Jenkin .Paperback cd., Sphere Books. 1970 .utlincs trend in the development of prose style during the seventeenthcentury. Compares and contrasts Lancelot Andrcwcs and Donnand comments on specific features of Donne's style, such as hi uses 0anaphora: his employment of interpolations and parentheses, as he "COlreels,qualifies, snatches a look at the Bible, the Fathers" (p. 402); his usc.of coordination rather than subordination "so that the clauses seem to fuilapart, as in a baroque altarpiece the figures lean precariously to give thimpression of movement momentarily arrested" (p. 402); his attempt ttrap "spiritual concept within physical analogies" (1'. 403); and his u t:sthe macabre. the theatrical, and paradox to engage his auditor 0 1 read~ I 5. , 'AG, A. AN l)IU~ . Le Siecle Elisabethain. (Panoramalu trt , gen. ed., Loui ·orestier.) Paris: Seghers. 2551'." n po te moderne en 1600: John Donne" (1'1'. 11 - 20) prc·enl.brief introduction to Donne's life and poetry. Compares Donn ' to • hakespearcbccau e Donne "est UI1 tres gran ecrivain. non UI1 tres bon poclmill ur' (p. 11 8 ) , Include ', in French, "Song: Sweetest 10 e, I do no,goe,.... ong: Coe. and catchc a falling starrc," "Death be not proud," ndtwo of Donne' epigram (pp. 19 -201). Short biographical note (p, ~40l.o'!!~ 1 6. CHI. OA, Y ICHIR O. "Kichi no Engi (John Donne)" [1 he PI"Wit (John Donncj], Eigo Kenkyu (Dokky o Daigaku). no. 4 (Jul~' ) : I2 1.Discus es Ben Jonson's evaluation of Donne's poetry and finds his ommeritscritically perceptive, Notes that Jonson especially admired "ThBracelet" and "The Calrne.' Discusses the two poems to illustrate the mng'and quality of Donne's wit.~~ 1 7. COONL'Y, DONA LD Eo "The Metaphy. ical Shudder: An E aall the Unique." LallgQ 9. nos. 1-2: 15-20 .\ ttelllpi. to define more precisely what is meant by the term melaphical budder as it i applied to cventeenth-century poetry , nd to speculon why the .eventccnth century was so fascinated by it. Argue tha tIterm mean more than imply "that element in seventeenth-centuryetry which involves a fa cination with the macabre. realistic. even natu

d iI whi h des ribc the ultimate consequences of the humanp. 1 - ) and can lud ·s that it i "a unique product of the seventeenthn because the fa miliar vibration of d ath coexisted with the equallyIi, J III t for the expe rience of life" (p. 20). Comments on "The Fu­II ~ . ie Darn pc." "The Apparition:' "The Relique," The econd n­n and Death Duell to how that in Donne "the hudder ha theu I a ran.cend nc of the reali tic; i i able to amalgamate deathIi . d ca. and faith" (p. 1 ).. COPE, JAC . 1. "Modes of Modernity in Seventeenth-CenturyPr .c." j lLQ I : 9:::- 1 1 1.ntially review article of Robert Adolph, The Rise of Modem Prose( ambridge: ~HT Pr . , 196 ), and Joan Webber, The Eloquen t "I":and elf in eventeentli- entury Prose (entry 59). urveys developinmodern criticism of seventeenth-century prose and briefly comnts0 11 T . Eliot's role in the modern I onne revival.q, CRINb, AN. AM AIUA. La Satire inglese. (Problemi cd orientamcnticritici di Iingue e lctteratur e gcrrna niche. Saggi e richerch e,I . s.) Verona: Libreria niver itaria •ditrice. l OOp.n urvey of English vcr e satire from the Middle Age to Byron.11 a biographical ketch of Donne and reproduces line 43-110 ofr Ill, with an Italian prose translation (PI'. 6 - 73).R , J M : ", A. D I 'CENT EWE r . British and American Porvlalrno. wedcn: Hermod " ::: 1 zp.roduc .. t the round earth imagin'd comers" and "The goodw"(pp, 1 - 14): pr . nt a brief bio raphical sketch of Donne and acncral introduction to his poetry' (PI" i3-H), followed by glo cI i\idual lincs of the h 0 poem printed (PI'· 74-77).I . RUTT\ ELL, P" 'I IUCK. "Th e Love Poetry of John Donne: Pedantique\ cede or Frc h ln vcntioni ," in lvletaphysical Poetry, cduedby Malcolm Bradbury and David Palmer, pp. 11 - 39. ( traffordpen-Avontudics, I I , ) London: ' dward mold; ew York: SI.Martin's Pres..rg ue~ against several recent approaches that would tend to diminishncs stature and originality and comments on his own personal expeofDonne's love poetry over the past forty years. from his earliestnon to its ecmingl pomographi clements to his later recognitionharmonize yntax with tanza L the whole ccret of reading Donne'p. q . Prefer th ordering a the poem in the fir t edition ofI he more rcc nt ordering propo cd by Helen Gardner bccau e inrmer the poem "com to one as a bod ' of verse which says in fleeteT)' a pect of love i liable 10 be pre cnt, in reality or in imagination.. ime. on an. occa ion: promi cuity, mi ogyny, hopelc adoration,

intimate tenderness, bitter hate, Platonic adoration, frivolous vnici nbrothel-III t. monogamous devotion, all of them" (p, 17)' C onll; l cnl~ nthe muior features of Donne's love poems, such as their uses of ettintheir us of a dramatic speaker, their note of Ovidian libertinism a \\ella. Platonic-Petrarchan adoration, their distinctive en e of intimacy. antheir uses of natural language devoid of poetic diction. uggests thrinseparable and major ingredients in the love poems: "the anal tical. Ihautobiographical, and the dramatic" (p. zo] and fi nds that their only limitation arc that the ' d al with unmarried human love, not divine 10and that they are clearly aggre sively masculine and hctcro e. ual. P inout some possible reasons for the decline of interest in Donne umonyoung renders of today and concludes that one thing that we can all leamfrom Donne's poetry i "that just because the age one live. in i blinkercd.fragmented. crue l, tupid and humourless. its poetry does not haveresemble it" (p. 39).~~ 19 2, DANIEl • I!..DGAR F, "Donne's 'Satire Ill.' 52: ' Expl z8: Ilcm S~Suggests that the phrase "Contemptuous, yet un han orne' in line 52Satyre 1I1 may be a Petrarchan allusion. I otes that in the can cnlion JPetrarchan poem thc lady is described as beautiful but disdainful. hili"Crantzs lady is paradoxical: he is disdainful without the beauty to \ arrantit.'...--" 193. A1I'A, Krrrr COUUR. "The Poetry of Contemplation: omContinuitie . ' Bulletin of the Department of •nglish, Calcuttano. 1 (1970-197 1): 23- 33.Di cusse the contem plative and apocalyptic train in the thinking •\ ordsworth and Coleridge and comments on their debt to the con templlive tradition in • iglish poetry, especially to the metaphysical poets. otin particular, imilaritie a well a difference between Donne' lISorganic images and Coleridge's usc of imilar image . Points out that tilorganic image - the trearn and its source, the hill, the root- belong "tnatures process, which long ago became image of the mind s trausccndeuce OVC I nature in self-knowledge" and that Coleridge and \Vords\\orIt"standing

ap"r ofCriticismJiII:m!cd for japanese studen ts. Ch apter 1 . "john Donne and the '. turcpi i, I Poetry" (pp. 1-:U ), outline. orne of the ba ic feature of• po trv, uch as his interest in cicncc. hi blending of thoughtlion, his general intellectual and analytical approach to his submdlus eli tinclive uses of logic aud languagc, illustrated, in part, by'S of "l lymne to Cod my C od, in my sicknesse" and "T he good­\ :" hapt 'r 2 , "The Metaphysical Conceit" (pp. 22- 67), describestUI • I1d function of the co nceit in Donne 's poetry, primarily in "AI n: forbidding mourning," "The Flea:' "Song: Coe, and catclic at rre." "" nocturnall upon S. Lu i day," "The Sunnc Ri ing."1 anonization." Chapter 3. "Th Prosody of John Donne" PI'.I • outhn the technical verse tructure of Donne's poem. cspe-1 Jh e anonization' and "Th e Bait ," and contrasts Don ne witht h and larlowe. Chapter 4. "John Donne and the Poetry of Love"- I I I ) comments on the range of altitudes toward love in DonuciI - from cynicism to the highest spiritual conception-and on COIl ­lllll t shaped his language of love. Comments on a numb er ofbrief . especially "T he Apparition" and "The Funerall," and conthat.for Donne. love is "viol mt, cata rtrophic, delightful. wondernine essa . ' by turns" (p. 11 I ). Brief bibliography (p. I 12).ii II .DFLA, 'Y. PAUL "Donne' Holy onnet \ , Lines 13-1 : . t\ &Qout po .ible biblical allusions in the restct of "I am a little world"1 'S :; :~ cncva version) and Revelation 17:16--passages that suggestI reed and lust will bc punished al [udgmcnt Day by lire eating theh Mni nlnins, therefore, that in lines 13-14 of the sonnet Don ne says•the ~ r e of z 'aI, by driving out and consuming the desires of the Ae. IJworld, will 'heal' the sinner and prepare him for a glorious iesur­0" tp, - ). oncludes that "the rc elution of the poem comes from01011 f ' fi re' and 'zeal: which arc brought together by both the logir'. Ion 0 the sonnet's imager ' and the nexus of scriptural a ocia-. I !ECKMANN, LISELOTTE . "Emblematic and Mystic Hieroglyphi's," in lli eroglyphics:The !-lislo1")' of CJ Literary Symbol, pp. 48-99.St. LOlli : Washington University Press.mmeuls on the intimate relationship between the hieroglyphical trarulmctaph -sical poetry and sugge t that what Donne "bring toI rogl. phical problem is the faith that in Cod and his Son, as wellBiblical word, the two levels of mean ing [literal and metaphon ­ne and that therefore, metaphorical poetry has its roots in the• 0 thi m tery" (p. 93 ). Discu es Donn e's view of the "meta-• I od" and the "metaphorical Chri t," c pccially as exprc xl in'ol;o/ls upon Emergent Occasions and sermons, and observes that,nne's works, "the intimate relationship between poetry and religion

John Donnecould not be more poignantly exp ressed" (p, 93). Briefly compares Donnciviews with those of Vaughan, Cowley, Herbert, and Quarles.~~ 19 8. Do E, JOliN. Five Sermons upon Special Occasion ' (1626lcnston, i'ng.: The Scolar Press. (288p.]Facsimile edition reproduced in the original size from the copy in I . 11College Library, Cambridge (STC 04 1). Contains ., crmon prea IIat Pauls Cross," "' (0 the Honorable the Virginia Company," "At the allsccration of Lincolnes lnne Chappel," "TI1C first Sermon preached toCharles at St. lames, 162 5," and "A Sermon preached to his MaiestieWhite-hall, 24 Febr. 16 2 5."~ 199. . Juvenilia (London, 1633). (The English Experiencelis Record in Early Printed Books Published in Facsimile, no. 2 9.Amsterdam: Th eatrum Orbis Terrarum; New York: Da Capo Pressn.p.Facsimile of luvenilia: or Ceriaine Paradoxes, and Problemes (London1633) from th e copy in the John Rylands Library (shelfmark: I 20~ 8 I I10 introduction and no notes or commentary.~ 200. . No Ivlan Is an Island: Selected from the WritingsJohn Donne, edited by Keith Fallon. (A Stanyan Book.) Los Auglcs: Stanyan Books; ew York: Random House. l51p.]Brief selections from Donne's poetry and prose. without notes or criticalcommentary. Reproduces often only a line or two from individual POCIor pro e pieces.~~ 20 I . • Poems with Elegies on the Author's Death (London1633). (The English Experience: Its Record in Early Printed BooPubli lied in Facsimile, no. 240 .) Amsterdam: T hcatrurn OrbisTerrarurn: 1 ew York: Da Capo Press. viii, 406P.Facsimile of a copy of the first edition of Donne's poems in the JohnRylands Library (shelfmark: 120 38). STC 704 5. No introduction and 11notes.~9 202 . D OUGI-ITI E, E DWARD, cd. Lyrics (rom English Airs, I ~96- dj 2 2Edited with all introduction by Edward Doughtie. Cambridge: Halvard University Press. xvii, 657P.An edition "that brings together the verse from all those sixteenth- 31dseventeenth-century songbooks which contain 'airs,' with the importnnexception of the works of Th omas Campion" (p. vii), designed "for thoscholars, students, and critics who need more than a modernized text IIIless than several copies in the originals, and who would be interested Idetails about manuscript versions, textual matters, and source" (p. viii'tentions Donne in several places and suggests that. although mil ic ffive of the poems in the Songs and Sonets has survived, "it is generall

[ 19 0] • 7 1lImlteClccl hal rno I of I onnc' poem arc not uitable for inging becau cre t 0 complex," yet maintain that .ong lyrics may have influenced"in hi varied and intricate stanza form and perhaps- along withti blank vcr c-in hi metrical freedom" (I'. 29). Reprint . withU note . th only lyrics by onnc printed in his lifetime. " heon" PI'. 294- 9 5, not . p. 564). which first appeared in Alfonsoco' \ .~ ( 16o

72 • [19701fohn D OIIIl '~ 20 8 . F RENCH, A. L. 'The Psychopathology of Don ne's Holy SOilnets."C R 13: 111- 24,Examines a num ber of the Holy Sonnets to show tha t they arc oftenmark ed by a complex confusion of thought and feeling and often project"feelings of fear pushed to the point of terror" (p. III ), Finds that "0\'(1and over again Don ne is brought face to face with a dispensation Ih;llseems either cru el or com pletely incomprehen sible. and that he evadesconventionswhic h shape them " (p. 29;). Presents a taxonomy of suchRenaissan ce genres as the verse letter, fun eral elegy, epithal amio n, cpitaph,philosophical poem, satire, ode, O vidian elegy, allegorical pOCrtl,and sac red lyric to show that such an approach "offers an explana tion forthe richness ofseventeenth-century poetry by sho wing how the lyric stoodin relation 10 other more pu blic genres commo nly practiced at the timeand how poets were abl e to develop the '1' of the lyric poem with greaterfacility than their predecessors by virtue of cutting across generic lines auddeveloping rhetorics of other modes as well" (p. ,12), Several examplesdrawn from Donn e.~ 206. Ftsn. Sn ..'JLEY. "Literature in the Reader: Affective Stylist ics»ut « 1:,- 62.Presents the case for affective criticism , a method of literary analysitthat "focuses 0 11 the reader rathe r tha n on the artifact" (p. 139), and abllconside rs some of the more obvious objections raised about the method.Illustrates how affective criti cism can be applied in reading a sentencefrom cue of Donne's serm ons and argues that, althou gh formalist ana l)'~1would show man y features of the sentence. it could 1I0t bring the reado"to the poin t where we could sec the sen tence, and the mode ofdiscourseit repr esents, as a deflating joke . , . to which the reader respond s and IJfwhic h he ISa victim" (p. 134), Maintains that "to consider the utterancesapa rt from the consciousness receiving it is to risk a great deal of what IIgoing on" (p. 134).'C~ 207 . F OWLER, l\ L-\STAIR. Triumphal Foml,~ ; Structural Pctrem s mElizabethan Poetry. C amb ridge: The Uni versity Press. xiii . ~lWDiscusses the numerical organi zation of literary works, "the compostionof substantive an d forma l elements in to spatial patterns. in

Bibliogra IJh)' ofCriticismcnse de conscience so produced by taking refuge in a quasi-logic whicheither uspect or patently false" (p. 112). Suggests that the Hoi}' Sonnetsinteresting. however. "because they reveal not merely the particularlfIicullies of one uncertain man, but also some of the problems and periliesthat lie in wait for any man who is trying to write religious poetry"1::3)•. uch as the unequal nature of the relationship between Cod andn and the inadmissibility of ex'Pressing adverse criticism of Cod. Findsr101,' Sonnets attractive because in the poems themselves there is andarnental honesty that emerges, a transparency that "reveals irrecon­Ilable as unreconciled or irreconcilable"; "What for Donne the religiousnan may have been bluff and evasion is, for the poetry, an open adrnisnof insolubility" (p. 124).... ::01). FUR BANK, P. N. "The Words Today," in Reflections on the Word'Image,' pp. 49-8 1. London: Seeker & Warburg.Warn against some of the abuses of modern studies of imagery, espcllythe tendency to search out images in poems as if the images them­I c were"little poems-within-a-poem" (p. 54). Indicates why commentsI Donne's imagery by F. R. Lcavis, especially those in "Imagery andI vement: Notes in the analysis of Poetry" (Scrutiny, September 1945),preferable to those by M. A. Rugoff (Donne's Imagery: A Stud y inalive Sources, 19 39) or even those by Rosemond Tlive (Elizabethand \ 1ctaph -sical Imagery, 1947).~ :: 10. ClEASON. ] OH B. "Dr. Donne in the Court of Kings: A Glimpsefrom I larginalia." JEGP69: 599-612..ommcnts on Donne's marginalia (probably written in 1629) in hiscopy of Thomas Mores Utopia, nox in the University of San Fran­. Library, and ugge. ts that these marginalia "offer a caustic privatemmenl on the Court of King Charles L and- what is even more interling-theytestify to a spiritual dilemma that perplexed the Dean duringentire ervice as preacher to the courts of kings" (p. 599), that is, thelflculty of keeping the delicate balance between his conception of they of the preacher to admonish and to speak out against evil and wrongrngand his continuing need to curry royal favor. Argues that the marinuliawo uld suggest that Donne was not always in agreement with theng or with his policies; however, in his sermons he was obliged to suprlroya l prerogative and 10 defend the wisdom of royal policies. Suggests11:\t Donne's melancholy during his last years may have been partially the• lilt of "his having to discharge his public duties in forms which weremetirnes opposed to his own convictions" (p, 611 ).• _11. GRANSDE, , K. W , cd. Tudor Verse Satire. (Athlone RcnaisanceLibrary. edited by C . Bullough and C. A. 'Ieyer.) London:The Athlone Press (University of London). viii , 182p.

fohn DonneBriefly surveys the genre of verse satire &om about 1510 to 1616. tracingit development &om classical satire through medieval satirical modes tothe Renais ance. Mentions Donn e's Satyres several times in the introduction(pp. 1-29). Reproduces Satyre IV (pp. 94-100) and suggests that lines17- 1; 4 arc based on Horace. Reproduces also Donn e's "Ib Sr Henry Wotton:Sir, more then kisses" (pp. 100-1 02) and calls this satirical epistle a"reflective satire" (p. 172 ) and points out parallels between it and the satiresof Horace and Persius. I ote on both poems (pp, 170- 72).~~ 212. H ALEWOOD. WILLlAi\1 H. The Poetry of Crace: Re{oTmQ.lionThemesand Structures ill English Seventeenth-Century Poetry. ewHaven and London: Yale University Press. xii, i oop.hows how certain Reformation ideas, interests, and attitudes shapedDonn e's poetry and sermons and attempts to adjust "the 'poetics of opposites'to square with the imperatives of a historical situation in which theoppositions most certain to engage poets' imaginations were the theologicaloppositions which the great energies of the Reformation found waitingfor revival in Augustine" (p. 17). Argues "(1) that although human natureis desperately limited in Donne's conception, that circumstance is notconclus ive for human possibility; (2) that the opposites of metaphysicalpoetic strategy are related to a theological concept of reality which hasextremely few points of contac t with agnostiei m or Manichaeisrn (certainlyno more contact than can be claimed for a traditional strain ofChristian dualism); (3) that the opposition of opposites in' eventeenthcenturypoetry is not absolute as lhe term would be understood in metaphysics:the world and man. rather than an independent energy of evil,provide the counterweight to Cod, and they are of course Cod's own creations-evilonly insofar as they withdraw from Him; (4) that the structuralpurpose of opposition in the poems lies not in dialectic interplay forit own rewards but, rather. in the reconciliation in which it concludesareconciliation which the inequa lity of the opposed forces makes inevitablefrom the outset" (pp. 2. 3- 24-). Presents a critical reading of "Goodfriday,1613. Riding Westward" to show that "while appearing to .uggcst thatmore than one kind of attitude toward the claims of the devout life ispossible. in the end the poem reveals itself as a single-minded expositionof :1I1 orthodox point of view" (p, 26). Comments on the influence ofrevived Augustinian theology on Donne's sermons ami points out that St.Augustine "is Don ne's most heavily used nonscriptural source and that St.Paul is his favorite source in seripture"-a preference that is "almost astandard Reformation pattern and reflects the characteristic Reformationintensity of interest in the great Pauline and Augustinian theme of man'in. .od's mercy, and the process by which mercy acts on in" (p, 60).Discusses how Donne's theology differs from or agrees with that of theEnglish Calvinists. Briefly considers Donne's Augustinian rneditationalmode in the Divine Poems. espc ially in the Holy Sonnets.

• I,. H ANAK. MIROSLAV JOHN , "TI1C Emergence of Baroque Mentalitnnd its Cultural Impact on Westcrn Europe after 1550," /AAC:!oS. 110 , 3: 3 15- 26,nsiders the emergence of baroque mentality after 1550' ill [taly. Spain,rmanv, France. and England. Argues that baroque art and literature- r 'flection of a new and distinct world view which continue topI ~ Renaissance form but loads them with :111 entirely differcnt worldpi" (p, 1; ) and suggest ' that the baroque is "a spiritualization of thenaissancc lust for life" (p, 316), Surveys the political and historical events1-,0-1660 to show "how this spiritualized elation replaced Renaiselanvital" (p, 31 l). urveys also modem cholarship on the baliand discusses 0 111 of the major feature of baroque art. Brieflymen on the baroque in English literature and mention that onnesrill' naties may not be seen a. baroque. . incc their "verbal a robucy i.I (II meditated than truly fclt existential fear" but that thc Songs andrw/x perhaps anticipate "the terror of m:.1l1 'S cruelty and hope for Cod's're. of .ryphiuss Sonn-und-Feriettagssonnette of 1639, which had grownactual experience" (p. 323 '"1 . H AWlI.1 N , Sli ER IA. H. "Samson', Catharsis." Milton :!o: ::11­-;0.I. IISSC the catharsis of Samson and points out that in the cvcntccn thulury the science of medicine was closely allied with ethics and theolndthat in the religious writings of the period disease and its cureb ken together a a common trope. Notes that "such 'figures of pecch'unded upon the double truth of cicncc and religion . on thc tradirphilosophicalmedicine anatomized by Burton, and a tradition oflogical ymbolism aut horized by Chri st him elf' (p. 2 17)' I i .cu sestl In this context Donne's Devotions upon Emergent Occasions, ill whichI kness and recovery is made an emblem of regeneration, the dying andwal of the Ch ristian soul" (p. 217)' Points out that both O OIl Il C and.111 make purgation a symbol of repent cnce but contrasts Donne'slism with that in Pilgrim's Progress. noting that. while "Donne' witIII undignified facts of illness into rnctaphy ical conceits," th homely, of Bunyan "reduce transcendental truths to almost natura listicu IlS" (p, 218).15. I h NMAN. ROBERT B, "T he Apotheosis of -aust: Poetry and Newhilosophyin the evcnteen th Century," in i\-letaph)'sical Poetry;ited by Malcolm Bradbury and David Palmer. pp. 149- 79.( tratford-Upon-Avon tudies, 1 I.) London: Edward Arnold: ewYork: t. Martin' Pre ,lu llenges the generally accepted twentieth-century view that during1 evcnteenth century art and science were fundamentally opposed toI other and that the new science had a generally bad effe t on the

John Donnepoetry of the period. Maintain that actually the artists and the new philoopher were "spiritual allic , even if they were not alway. aware of thealliance, and that---despite individual and occasional antagonism-e-thctotal effect of each group on the other was salubriou " (I'. 149). Suggeststhat the difference between til imaginative process of many seventeenthcenturypoems and that of many earlier ones "seems to be that imaginativecreation, an inductive leap like a leap of faith, has fused sacramentalismand empiricism" (I'. 154). Comments on how Donn e seemingly attemptto break down the wall that divides nature and art. Selected bibliographyon cvcntcenth-century literature and .cicntific thought (pp. I 5- 9).!..o"!~ 216. HOEY, JOBI . "1\ tudy of Lord Herbert of Chcrbury' Poetry."R IS 14: 69-89.urveys the personal relationship between Donne and Lord Herbert ofCherbury and compares and contrasts their poetry. Con tra ts, in particular,Lord Herbert's elegy on the death of Cecilia Boulstred with Donn e'sclcg in order "to reveal some of the differences in temperament and poetictechnique of the two men" (p. 74).~ 21 , . Hosmxo, TORu. Donne Shishu [A Collection of Donne's Poem ].'lbkyo: Shichosha. 21 p.Tran rlates into japanese the ong« and Sonets and ix of the Elegies:"The Perfume," "His Picture," "T he Autumnal] ,' "The Bracelet," "O n hisMistris," and "Going to Bed."~~ 218. HUTCHlNSON, ALE.XANDEn T. "Constant Company: John Donneand His Satiric Per onac ." Discourse 13: 354-- 63.Discu se how Donne foll owed in a satiric tradition drawn from [uvenal,Horace, and Persius and considers "what the particular etho wawhich he created, and the clement. in it which were not necessarily prescribedby tradition" (pp. 354- 5;). Discusses Donne' use and developmentof personae in the Sat 'res and considers variou aspects of his privatereligious beliefs and practices, speculating on "how they provide anotherdimension in the structure of the satires and the ethos of the poet" (p.360). Points out that Donn e, unlike other satirists ofthc time, emphasizesthe "deliberate confrontation with vice so that it could be vigorously resistedand refuted" (p. 361). otes that his personae "refuse the poisonedmeats thrust upon them and remain unta inted" and that "there i none ofthe subordination of philosoph y and theology to the depiction of actualice nor of the moral ambiguity \ hich characterize much of the formalverse written in the 'satyr' tradition" (pp. 361-62). Maintain that Donne'per onac have a sense of detachment that allow them to "provide ananalysi of the problems even while participating in the dramatic actionandthis detachm ent leads to religious comprehension" (I'. 362).

A Bibliography o(Criticism [1970 ] • 77f I~ 219. JACKSON, ROBERT S. John Donne's Christian Vocation . Evan- 2stan: Northwestern University Press. viii, 192P. ,~Although using a variety of approaches-the historical, literary, critical,psychological, mystical, and even phenomenological-this is primarily abiographical study of "some fifteen or more years of Donne's lifetimedur ing which he faced and resolved most of the difficulties standing betweenhim and his vocation to the priesthood in the Anglican Church"(p. 4). Chapter 1, "The World Movement of Donne's Lifetime" (pp. 3­21), outlines various social, historical, philosophical, and theological tenions,dualities, and dichotomies that confronted his world , such as theense of duality between the past and the present, the breakdown of anordered and hierarchical sense of the universe, the decline of Scholasticismand the emergence of Rarnisrn and Platonism, the changing modesof apprehension and sensibility, and the rediscovery of the Bible and ancientclassics. Suggests that Donne's vocational adventure participates inand reflects this Reformation-Renaissance world of polarities. Chapter 2 ,"T he Beginnings ofTrouble: Outer and Inner" (pp. 22-38), comments onDonne's marriage, the desperate years immediately thereafter, and the resultantinner tensions that contributed to his religious development duringthis crucial period in his life. Presents a reading of Satyre III, most ofwhich appeared earlier as '''Doubt Wisely:'-John Donne's Skepticism "(entry 23). Chapter 3, "Mannerism" (pp. 39-55), maintains that the termmannerism should not be exclusively confined to the aesthetic realm butis "related to religious, social, political, and literary history as well" (p,51). Connects the term also "with depth psychology and certain aspects ofexistentialism and phenomenology" (p. 51) and prefers mannerism tometaphysical or meditative as more adequately descriptive of Donne's artand sensibility. Chapter 4, '''Resolution' Denied" (pp. 56-79), commentson the tensions, doubts, and irresolution Donne experienced when firstasked by Morton to become a priest. Comments on "The Litanie" as reflectingDonne's Christian ambivalence toward worldliness. Chapter 5,"T he Depth" (pp. 80-97), discusses Donne's preoccupation with deathduring the years immediately preceding his public acceptance of Anglicanism, especially as reflected in Biathanaios and Pseudo-Martyr. Chapter6, "T he Psychic Marriage" (pp. 98-122), comments on the sexual andmarital imagery of Donne's religious poems, which, "taken all together,make up a myth of the divine-human relationship in which each of thevarious figures is a persona, or mask, of some aspect of Donne's ownandman's-personal existence in the world " (p. 98). Illustrates the myththrough a reading of the Holy Sonnets and the two Anniversaries. Arguesthat in the latter Donne celebrates "the divine marriage by reconciling themost profound polarities in man's experience, symbolized chiefly in thepolarities of death and birth but including also this world and the otherworld, heaven and earth, God and man, the eternal and temporal" (p.118). Sees Donne as "giving up his uncommitted stance" in the Anniversaries:"The invisible church is not enough for man living in the visible

John Donneworld," and thus by means of Elizabeth Drury's "marriage to God, JohnDonne was reborn in the world" (p, 122). Chapter 7, "Church and State"(pp, 1 2 3- 4 5 ), discusses Donne's final steps toward the Anglican priesthood and how he reconciled his inner and outer life by this act: "To uslanguage only 3 bit figuratively, it is fair to say that tile king of •nglandwas John I anne's pope and that he himself was an Anglicized Jesuit" (p.144). Chapter 8, "Donne's Sonnet on Christ's Spouse" (pp, 146- 75), presentsa detailed reading of "Show me deare Christ" and sees it as Donne'"fi nal resolution of the problem of national sectarianism" in which "thmultiple churche and the one church are tile same; so is it that in ioininthe fallen bride of Chri st, John Donn e also joined the true" (p. 174)Appendix, "A Passage from St. Thomas Aquinas's Summa TheologicCl,'On the Mean of Virlue'" (pp. 179-80). Index.~9 2 20 . KEEN, GERALDINE. "Expert finds poem in Donne's hand." nC.Times (London), 5 June, p. 2 .Announces the discovery of Donne's autograph verse letter to LadyCarew"A Letter to the Lady Carey, and Mrs Essex Riche, From Arnyens," IIIPeter Croft, manuscript expert at Sothebys, in papers of the Duke ofManclic tcr, \ hich from 1882 had been held in the Public Record Office.Notes that "no other autograph exists of a poem by any early poet of, cornparablerenown." Describes the verse letter and reproduces a photocop Itile first three stanzas along with a transcription.

Bibliograph y ofCriticism2Z ::! . KHAN. A, RMILLA. "Donne's' Valcdiction: Forbidding Mournmg'-ome Po iblc Alchemical lIu ions." &Q n.s. 1 : 404- -.uggcsts that certain alchem ical notion drawn from Paracclsu conmgthe technique for turning impcrfcct mctals into pure and solidd may be useful in interpreting ·tanza 4- 6 of "A Valediction: forbidngmourning." uggests that in these stanzas Donne describes a proce shich the two lover' love "will become refined when they are partedm each other" (p. 40;). Argue that Donne is saying that "ab ence,·tructiveof ordinary love, \ ill in their case, prove the means of makingm realize the irrelevance of it" and that "the dull love rooted in senseII with er whereas the refined love 'Interassured of the mind' will be­U1e even finer and be changed into 'the only good and fixed gold'" (p.)~ 223. KISHIMOTO, YOSHI'I;AKA. "Donne no Satyres- Sono Hyogen nitsuite' [Donne's Satyres- On Th eir Expression]. Kiyo (Kokugo/Kokubun)(Bungakubu, Baika Joshi Daigaku), no. 7 (December): 61-7'Z·iscusses Donne's uses of ironic and illustrative allusions in the Sat yreswell as in the Songs and Soneis. uggcsts that this line of analysis will, I nev dimensions ill the Songs and onets, which are known priril. for their wit. Notes that in both the Satyres and the Songs andt one can find a double meaning-a traightforward presentation ofualion and a econd allu ive and ironic meaning.• 24 . KRAJ Z, GISBERT. "Liebe und Verganglichkeic Erotische Lyrikim t ngland des 17. [ahrhunderts." Antaios 11 : 512-26.ivide Engli h cventeenth -centu ry poets into two groups: (1) the Punnd the metaphysical , who treat love philo ophically and theolog­Iy, and 2) the Cavaliers, who discu love in purely secular and senllerrn . Discu e Donne' attitude toward love and lists themes in aiber of his poems (pp. 516-20 ). ecs his early poems as cynical and\ lous but notices a growing concern for the philosophical issues andconcern for the sensual aspects of love in his later poems.2;. KRANZ. C IS BERT, cd, "John Donne ," in Englische Soneite: [E n­glish lmel deutsclie, edited and translated by Gisbert Kranz. pp. 62­71, 192-9 3. Stuttgart: Rcclarn.nslates into German "Batter my heart," "I am a little world," "Oh, tome. contrarycs meet in one ," "Thou hast made me." and "Death beproud" (pp. 62-71). Notes and brief comments on Donne's life andi us ensibility (pp. 192.-(3).:26. . IcGEE, MICHAEL C. "The Thematic Reduplication in ChrisianRhetoric." Q/ ; 6: 196-204 .

John DonneExamines the practice and theory of Christian rhetoric "to illustrate thesubtle but significant impact of Christian attitudes on evolving rhetoricalthedry" (p. 196) and rejects the notion that Christian rhetorics are merely"bastardizations of ancient and absolute principles" (p. 197). Commentsbriefly on one of Donne's sermons to show how he uses thematic reduplicationthat is "reminiscent of the early hornilists" (p. 199), who dividedthe sermon into two tightly reasoned and logically redundant units: "th efirst is an analysis, deduction from Ultimate authority; the second is synthesisfrom common topics, analogies, and examples to the universalprinciple originally deduced from Scripture" (p. 201 ) .~ 227. McLAUGHLIN, ELIZABETH. "T he Extasie': Deceptive or Authentic?"BuR 18, iii: 55-78.Suggests that the apparently conflicting notions held by various critic sabout "The Extasie" ma y be resolved by examining "the case for deceptionor Sartrean self-deception, a possible psychological revision of these theories,and a detailed study of the relevance of Plotinus's philosophy to thesolution of such problems" (p. 55). Comments on possible parallels betweenDonne's poem and the theories of such modern existentialists asSartre and R. D. Laing and presents a detailed reading of the poem toshow that it "is so replete with imagery of correspondences in the chain ofbeing that the philosophy of Plotinus explains the total poem far moreadequately than does any modern psychoanalytic approach" (p. 77). Pointsout, however, that "it is a curious fact that the Hellenistic mystic, theRenaissance poet, and the twentieth-century existentialists are describingclosely related experiences: dissociation of part of the self as observer andevaluator, transcendence of the body, sense of union with the One" (pp,77-78).~ 228. MAHONY, PATRICK] . "The Heroic Couplet in Donne's Anniversaries."Style 4: 107-17.Analyzes the structure of Donne's couplets in the Anniversaries andconcludes that, in general, he often fails "to exploit the full potentialitiesof his medium" and has but "a restricted awareness of what can be called(to use a rhetorical term) disoositio in the heroic couplet, which wouldinvolve enhancing certain artistic devices by placing them in end-rhymes"(p, 114). Notes, for example, that "compared with Pope and Dr yden ,Donne does not favor a medial pivotality as much: he gives less emphasisto the post-fifth-syllable caesura and otherwise works with a greater caesuralfreedom" (p. 108). Suggests that, just as the tight, aphoristic coupletsof Pope may be compared to curt baroque prose, perhaps Donne's couplets"with their looser structure and softly focused endings are indebtedto the tradition of loose Baroque prose" (p. 114). Notes, however, that inThe second Anniversarie Donne seems to achieve "an increased dramaticeffect, which is partly due to his initiation of many lines with a verb-an

A Biblioaraph )'of Criticismanticipation of a Miltonicline" (p. I 14).nd Augu tan practice to strengthen the p ctic~ 22 9 . ~ I I GEl DORF. AI DRA It "Donne, Herbert. and Vaughan:orne Baroque 'ealures." oriheasi lv/odem Language AssociationJ ewsletier 2: 14-23.Discussc certain baroque feature. in "T he Canonization." a w II as inHerbert' "En tcr Wing " and Vaughan's "Corruption." Using termin ologyprimarily from Heinrich W61fAin and Wylie Sypher, finds the followingbaroque qualities in Donn e's poem: "dynarn i m, derived primarily fromconversation I rhythms and a .sociative thought; lack of clear-cut. observableform; a broad . weeping and slurring of ight known as relaxed vision;an affi nit. for the abstract as opposed to the concrete; organ ic unity; asymmetrical,exploratory form, as well as depth, and a sense of open ness andunlimited heights and possibilities" (p, 18).~ 230. IVIANN, LINDSAY t\. "A Note on thc Text of Donn e's crmonPreached at Paul' Cross. 24 March 161 6/1617." N&Q n.s. 17: 403­4·Points out a po ible error in the printed text of Donne's sermon preachedat Paul's ro s. :q ~ larch 16\ 6/1 6\ ,that ha escaped editors of the ermon. Find the persi·tenee of the error" . pecially odd becau e it occurIII n importan t and often-noticed pas age on the right use of huma nfacu lties and make nonsense out of the line where it occurs" (p. 403 ).uggest thai the phra e "not having an thing pre ented by the Ianta ieto the sen cs" houkl read "to th fanta ie by the senses."'4~ 231 . l IARTIN, PlIlLIP. "I anne in 'lwicknarn Garden." CritS 4: 172­:;.es "Twicknarn garden" as a comic and satirical poem that "turns alear-eyed. reducing gaze on the marc fooli h kinds of Petrarchan extravganceand offcrs in tcad a quite extra-conventional sense of reality" (p.I ~ J . Argues that the poem is a critique of Petrarchan love. "an attack notmuch on a way of writing as 011 the nature of the feeling it claimed tor present" (p. 174).~ 2J:a. M ARTIN, R. ( . Notes on the Works ofJohn Donne. (Coles Notes.)'lbronto: olcs Publi hing Co. 117p.01'S intended for undergraduate student . Biographical ketch (pp. -­utlinc of clement of metaph ysical poetry (pp. 1)-10). a hrief reviewnil '. poetry pp. 10-14) . urnmariz thirty-nine of Donn e's po !TISpr pice ' and offers hort ritical commentaries (pp. Q - - 7). RcurCritic I cay' (pp. - I q : ( \) a election from Ro eme nd' /izabethan and Metaphysical Imager}' (Chicago: niver i . ofPre . I 4 7); (:!) Joseph A. Mazzco. " Critique of orne Modncof Metaphysical Poetry,' MP 50 ( \9 52 ): 8-

John Donneern ·Ii cellanv of Literary Critici 111 1 (195"'): 19-40; and (.t-) Edgar H.Duncan, "Donne's Alchemical Figures," ELH 9 (1942): 257-85. Selectedbibliography (pp. 114- 1 ).~ 233. M ARTZ. Loun L. "The Action of the Self: Devotional Poetry inthe Seventeenth Century," in J'vletaph)'sical Poetry edited by MalcolmBradburyand David Palmer. pp. 101- 21 . (Stratford- pen-AvonStudies, I I. ) London: Edward Arnold; lew York: SL. Martin's Press.Claim that seventeenth-century devotion involved "an active. creativestate of mind. a 'poetical' condition . . . in which the mind works at highintensity" and that thus the devotional poetry of the period "should not. . . be taken to indicate ver c of rather limited range. 'merely pious' pieceswithout much poetic energy" (p. 103). Argues that devotional poetry isthe result of "a state of mind created by the 'power of the soul' in anintense dramatic action , focused upon one central issue" (p, 103). Discuses "the inimitable peculiarity of Donne's religious consciousness" (p.105) by commenting 011 "If poysonous min cralls" and "Since she whomI lov'd ." Warn against overe timating the influence of Donne on the developmentof English devotional poetry and contrasts the instability, tension,and even querulous action of Donne's Hoi)'Sonnets with the deeplyachieved sen e of security and familiar confidence found in Herbert's TheTemple.~~ 2.3+ l AZZARO, JEROME. Tran sformations in the Renais.an ce EnglishLyric. Ithaca and London: Cornell University Press. x, 214p.Discusses "the way forms of song become mode of vision and thought"and shows how "the shifts undergone b the •ngli h lyric in the sixteenthcentury from a musical to a rhetorical form are based on deeper changesin modes of eeing and thinking" (p. vii). Ou tline some of the shiftingviews posited by modern critics concerning sixteenth- and early seventeenthcenturymusic, poetry, and sensibility. Chapter 5, "John Donne" (pp.145-85). makes the case that Donne, "who wrote without music and basedhi.' techniques upon rhetoric, established the frames for elf-discovery inthe carl seventeenth century" (p. 184). Com men ts on various features ofhis tech nique: his ability to involve the reader immediately in the poem;his emotionally charged language; his complex uses of the persona androle-playing within the poems to express his own self-consciou ness; hitendency toward skepticism; and his skillful uses of colloquial diction andmetaphysical images.~') 235. M EURS, J. C. VA• . "John Donne in the Twentieth Ce ntury." Lf270: ; 45- 5-·Surveys briefly the development of various critical trends in Donne criticim during the twentieth centur y, otes that in the 1920 and 1930Scritical evaluation of Donne not only shaped much modern criticism,especially that of the "new critic ," but also influenced practicing poets,

A BibliogrC1ph)' orCriticismsuc h as T. S. Eliot, Wallace teven s. Allen Tate, and many others. Outlinessome of the features of Donne' poetry tha t att racted early-twentiethcenturyreaders. uch a his complex per on ality: his originality an d rebellionagainst conventions ami artificia lity: hi purported keptici m; hiintellectuality, wit. an d sen. e of h umor: his ability to usc a speaking tonein a highl y argumentative poem; and his so-called "u ni fied sensibility"an d skill at present ing feeli ngs. ommenb on the critical balan ce thatemerged from the. e often exaggerated claim. . unfounded assum ptions,an d critical positions. not ing that e en Eliot in time tempered his claimsfor Don ne. Points out that. "though Don ne may no longer be een ali oneof the very greatest of English poe ts. he has co me to occupy perman entlya higher position am on g •ngli h poets than he has ever had before" (p.554l~ 2 36. MICIII':NER, Rt CIIAIW L. "T he G reat C hain of Being: T hree Approaches." BSUF 1 I : 60-71.Explicates and contrasts three differing interpretations of the C rcat C hainof Being as reflected in the works of Pico della Miran do la, Donne. an dPope an d shows how eac h was preoc cupied in different ways with fourvital areas of existen ce: "the cha racter of man , his pursuit of learn ing, hissearch for his Creator, and the influen ce of such a closely built un iverseupon his dai ly life" (p. 6 1). C oncludes that "gene ralized schemes of culturalhistory, however infor mative. hed less ligh t on a particular workthan will accrue from a ca refu l relation of the text to the cultural. socia l,and politi cal background of the age in wh ich it was produced" (p. 71).~ 2 3 . ~v1 I LLER, PAUL W. 'T he Decline of the Eng lish Epi thal am ion ."TSLL I:!: 4° 5- 16.Traces the epitha larnic tradition in England from Spenser to Crasha wand con tends that the decline of the tradition "reflects the decline of themarriage myth that origina lly inspired the genre" (p. 405). The myth .imply stated. is "tha t wedlock. \ hen prop erly entered upon and celebrated,is a poten t force to unify an d bless the brida l pair and to avert evilfrom them" (pp, 406-7). Comme nts on possible historical and religiou sreasons for the decline of the myth and argues tha t "as the myth of marriageloses its vigor. the epitha lamia inc reasingly find their inspiration noLin the myth itself, but in the distort ion or perversion of this myth forrhetorical or poeti c effect" (p, 406). Discusses briefly Donne's "E pithalamionmade at Lin colnes [nne," "An Epithalamion. Or rnariage Song onthe Lady Eliza beth' and his orncrset "Epithalamion" and notes th at byI 11, when Don ne wrote his "whimsica l Palatine and Rattering Somersetepithalamia. the decli ne of the form is apparent" (p. 405).'lINe OFF, M AR o . "Lyrical Poetry-Elizabethan and Jacobean,"in t\ I-I istor)' or English Litera ture. Part 1; From the Beginnings10 1 00, pp . 4 17-42 , zd ed. Sofia: j laouka i izkoustvo.

fohn Donneurvey Donne's life and poetry (pp. .P5-37) and sugge ts that he repreent "in himself a whole new age- in his tyle, in hi. theme. in hisoutlook on life, his doubt. ami hesitation. he is in fact one of the mostperfect examples of Baroque in English literature" (p. 435). lairns thathi. Catholic background may explain "the extremely Baroque (or Manncrist)nature of his art, his surrender to the emotional mysticism of theCounter-Reformation and flight from the Platonism of the Renaissance toschola ticism' (pp. 4 25- 26). Mentions Donn e throughout and compareshim to others.~ 239. fIOLIIO, BLANCA Y LV!AU1UCE. ed . Poetas inglese metafisicosdel siglo XV ll. (Preparacion de texto originales, Marfa ornis. ) Barcelona:Barral Editores. 1 I p.Presents a general introduction to metaphysical poetry and poets for theSpanish reader with selections from the poetry of Donn e, John Fletcher,William Drummond, William Browne, Crashaw, Lovelace, Marvell, andVa ughan . Contains an introduction, "Prologo: John Donne y la poesiametaflsica" (pp, 11- , 6), and ninc selections from the Songs and Sonets,"An Epithalamion, Or rnariage ong on the Lady Elizabeth," "" Hyrnncto luist. at the uthor la.t going into Germany," four selections fromthe /-l o/)' Sonnets, and "A Hymne to God the Father" (pp. 44- 9). Engli.h and Spanish on facing page. without note and cornme ntarv~ ~ 240 . l\fIORRIS, BRIAN. "Satire from Donne to Marvell," in Metaph)'sicalPoetry, edited by Malcolm Bradbury and David Palmer, pp.211- 35. (Stratford-Upon-Avon Studies. 1 1. ) London: Edward Arnold;j ew York: St. Martin's Press.Broadly urveys the development and charactcri tic. of both nondrarnaticand dramatic English atirc from the late sixteenth century to theeighteenth century. SI1O\\ that during this time afire moved away frombeing a fa hionable academ ic exercise modeled on Horace. [uvcnal, Persius,and Martial to a more diver ilied and complex mode and became.in fact. a dialectical search for truth. Shows that satire move away fromthe impersonality of the late Elizabethan era to an interest in individualcharacter, from "the view of man as domi nated by hum ours, or stars, orheavenly intervention, towards the realization that we arc responsible forour own actions, and answerable for them" (p, 2,;). Comments onlybrieA . on Donne. Point! out that hi satirical impulse was not confinedto the Sat 'res but found expr ion a well in the Elegi s and the Songsand (met. and note that. although Donne is always dramatic . "he ialways dramatizing him elf" and "never creates fully realized charactersand ubdue himself to them" (p. 214). Suggest that, in a en c, Donne'satire "i an end, not a beginn ing. and it is left to Marston to extend thesatiric impulse into the theatre and give it a more personal context of[udgcrnent" (p. 2 q ).

A Bibliogra phy ofCrilicislIl~ 241. I'V[URAOKA. [SAMU . "Donne no Holy Sonnet: 'Death, be notproud'" [Donne's Holy onnet: "Death be not proud"]. EigoS 116 :246-48.Translates into [npane e "I cath he not proud" and presents a brief explanationand analysis of the poem.~ 2.p. OKADA, Hm K • "John Donne no Fukkatsu-c-Devotions no IchiKosatsu" [T he Revival of Donn e-s-A Stud)' of His Devotions uponEmergent Occasions]. Kenk)'u Homo (Sugiyama [ogakuen Daigaku),no. 1 (March]: 77-90.Suggests that from the time of the writing of the Devotions upon EmergentOccasions the themes of Donne's sermons change from sin and damnationto grace and salvation. Maintains that his fi nest sermons were writtenafter 16 23 and examines the spiritual dynamics that prompted Donn e'smaturity as a sermon writer and caused the change in his choice of themes.•~ 243. GKUMA, SAKAE. "Shi no Uta-'Sei Lucy no Hi ni yoseru Yoruno Uta" [The Song of Dealh-"A nocturnall upon S. Lucies day,Being the shortest day"]. J'vletro/Jolitan (Tokyo 'Ioritsu Daigaku), no.14 (December): 64-76.Suggests that "A nocturnal! upon S. Lucks day" is unique among Donne'spoemsand seems quite modern . Maintains that in the poem Donne conidersthe hypothetical death of the speaker, which expresses both the hypotheticalloss of himself and his doubts about existence itself, both quitemodern themes.~ 244. Q OKJ\. SI-IIN. "John Donne no Shi an a hoka" [John Donn e'Poems. ctc.]. Kokobrwaaku (Tokyo: Cakuto hal 15: 129-36.Translate into Japanese "Wornans constancy" and discusses in a verygeneral way the characteristics of metaphy ical poetry.•~~ :Q 5. OSTIUKER, ALI CIA. "T he Lyric:' in English Poetry and Prose,1540-1 674. edited by Chri stopher Ricks, pp. 119-36. (H istory ofLiterature in the (i:nglish Language, vol. 2. ) London: Barrie & Jenkins.Paperback cd., Sphere Books, 1970 .Outlines the rise and decline of the lyric durin g the Renaissance andeventcenth century and comments on the interplay between the tradin.of communal song and individual speech in the lyric. Suggests thatnne. along with Jonson. led the poetic rebellion against the "sweet:' typified b pcnser, by introducing into the lyric "greater reali rn,creleness, and individual self-exploration and self-assertion" (p. 128)introducing "unbalanced tanza forms and rugged rhythms, learneddramatic blank \ erse and following the lwists of passion or dialectic,109 mental ,tasis by menta l procc s" (p. 122 ) ~ Points out that Donn ehe articulated bone of thought visible under the skin of .entence

John Donneand rhythm" (p. 130), reproduced the language of prose in the lyric, injectedmuch humor, and succeeded best when engaged in moral argument.Notes that in his poetry "the mind reveals itself in process of goingabout and about, in tirelessly subtle self-awareness, playing or wrestlingwith uncertainties, trumpeting the challenge of its wit equally in profaneand sacred verse" (p. 130). Compares and contrasts Donne briefly withJonson, Herbert, Vaughan, Traherne, Crashaw, and others.~ 246. P., L. "Donne's 'A [eat Ring Sent." Expl 29: Query 2.Asks for clarification of lines 7-8 of "A [eat Ring sent": "Figure ourloves? Except in thy name thou have bit it say, / I'arn cheap, and noughtbut fashion, fling rne'away" For a reply, see Ray L. Armstrong (entry 387).~ 247. PALMER, D. J. "The Verse Epistle," in Metaphysical Poetry, editedby Malcolm Bradbury and David Palmer, pp . 73-99. (Stratford­Upon-Avon Studies, II.) London: Edward Arnold; New York: St.Martin's Press.Comments on the development of the verse epistle in English poetryduring the late sixteenth and early seventeenth centuries and discussessome of its major characteristics, such as its familiar style, its emphasis onthe personal and on actual experience rather than on poetic fiction, itsbrevity, plainness, perspicuity, and its usual themes. Comments on Donne'sverse epistles to show that they develop "from his compliments to friendsat the Inns of Court towards a concern with virtue and the moral life, andin so doing, they become more classical in spirit" (p. 78). Points out thatDonne, however, does not abandon his use of wit in these poems: "Forwit in Donne's case is a way of perceiving reality, not a means of adorningit: it is a property of his mind rather than of his language" (p. 78). Seesthe influence of both Horace and Seneca in Donne's epistles and noteshis attraction to the stoic theme of living apart from the world, which hegives a particular Christian application. Comments on Donne's epistles tovarious great ladies and calls them love letters in which the major themeis the importance and nature of virtue: "Like the 'Songs and Sonets', theepistles express that heightened awareness of individuality which is forDonne the essential experience of love ... one in which the lover findshis own identity through knowing, and being filled with the knowledgeof, the lady's essential self" (p. 92). Compares Donne throughout withother writers of the period, especially Jonson, Drayton, Montaigne, Daniel,and Lodge.~ 248. PATfERSON, ANNABEL M. Hermogenes and the Renaissance: SevenIdeas ofStyle. Princeton: Princeton University Press. xv, 240P.Discusses the importance and possible influence of the Seven Ideas ofstyle contained in Concerning Ideas by the second-century rhetoricianHermogenes of Tarsus on Renaissance rhetoric, poetics, and aesthetics.Comments briefly on the Ideas of Reproof in Hermogenes and the style

A Bibliograph » of Criticismof Donne's atircs and sermons, ugge ting that in the sermons he oftenrebels against the .atiric tone and vehemence that he did so much todevelop in the satirical tradition. AI a briefly mentions Donne's lise of theIdea of Speed. c pccially in" n his Mi tri ," "At the round earths irnagin'dcomer :' and the at 'res.~£; 2-+9. PH"tTHlAl ' B. t\., eel. Considering Poetry': An Approach to Criticism.(T he 1 ew chool erie. London: The English UniversitiesPress, vii, 2pp.Reprint 'T he unn e Rising" (pp. B-54) with a brief critical comme n­tary (p, 59) and tresses the dramatic clements of the poem as well as itsrhetorical features and shifting lone. Reproduces "1\ Valediction: forbiddingmourning" with study notes ami questions (pp. 18-20) and "Battermy heart" (p. I ~6 ) , "A IIYl11 n to God the Father" (p, 136), and "Death benot proud" (p. 197) without notes or commentary.~ 250. PrITS, Anrnun W., JR. "Proverbs as Testimony in Donne's Style,"in Essa ys ill Honor of Esmond Linworth I'vlarilla, edited by ThomasAustin Kirby and William John Olive, pp. -+3-55. Baton Rouge:Louisiana State University Press.Argues that a consideration of proverb "is essential to any full descriptionof Donne's style" (p. 55). Point out that Donne very often usc proverbfor a range of effects-for "allu ion, amplification, paradox. and humor"(p, -+3}-and examine. . in particular. his u e of proverbs as te timony"or a a kind of universal witne .. (p. .n ). otes that proverbs were oftenemployed by didactic writers for instruction "since they were regarded asthe di tilled experience of humani ty expressed in a vivid. memorable fa h­ion"(p, -+4). Argue that Donne "avoids didacticism partly because of hisgreat variety in tone and because the proverb is always a small part of alarger argument, but he frequently uses proverb to express the 'commonopinion of the multi tude" (p. 4; ). Observes that sometimes, however, hehighlights his use of proverbs "by an introductory phrase, by its syntacticpo ition within the poem, or by making it the conclusion of a stanza or apoem" (p. 45). Ca lls "The Expostulation," which is considered to beDonne's, "a cluster of proverbs unified by a central theme" (p, 49).'~2 51.the Visual Arts. T he A. W Mellon Lectures in Fine Arts, 1967.(Bollingen Series, 16.) Princeton and London: Princeton UniversityPress. xv, 261 p.Reprinted, with minor revisions, 1974.Fi I printed as Princeton Paperback edition, 1974.Briefly compares Donn e' Hal)' onnets with Michelangelo 's sonnetslid uggests that "in hi peculiar mixture of realism and Platonism, in thernrnatic tum of hi genius a well a in his laborious yearning for beau tyd religion. in that double character of half-baffled, half-triumphantPRAl, MARIO. J\tlnemos)'ne: The Parallel Between Literature and

John Donnestruggle, in his power of depicting the horror of sin and death and theterrible c ffc c~ of the wrath of od, Donne is perhaps nearer to Michelangelothan to anybody else" (p. 45 ). uggests that the chief characteristicof Donn e's lyrics is "the nervous dialectic of his impassioned mine)" (p.9 ) that they present. a quality noticeable in Maurice ceve and ultimatelyderiving from Petrarch. Exp lain . however, that 1 onne " \lSC . thedements of Petrarchan subject matter, but in a bizarre, unorthodox waythat recalls the u e of classical clerncnu by Michelangelo in the anteroomof the Laurentian Library" (p. ()i). Notices Donne's affinity with manneristpainters, especia lly "in the prominence given to an accessory detail.thus tu rning up ide down what in other poets would have been the normalprocess" p. 97). Compare I anne al a to Pietro Bembo to . how howfar hc "has traveled from the orthodox pattern" (p. 10 0 ) of elegant Petrarchism.~ 252. RAsp" , ANTIIONY. "Donne as Meditator: A ole on Some RecentOxford Publications." Recusant Histotv 10 : 2.P-43.Argues that certain recent Oxford publications, especially Ignatius hisConclave, edited by Timothy Healy (entry 79), Helen C ardncr's edition ofthe Divine Poems (19 52), and James iVlcDonald and Nancy Pollard Bro\\115edition ofTile Poemsof Robert Southwell, S. f. (\967), tell us much aboutDonne's recusant and atholic continental influences and suggests thatDonne "re-oriented rather than tried to eradicate his Catholic formationinto the mould of the English Church" and that his erudition in atholicmatter not only continued to develop after his conversion to Anglicanism,but, in fact, "represents positively the development of a very substantialpart of Donn e as pact, thinker and religious cxcrcitant" (p. 242 ). Pointsout that. a a result of these more recent ludi c , Donne "appear standingin the Aow of a Je nit meditative tradition, able to reject and accept pamof it at will" (p. 243 ). otes that, although Donne rejected and even satirizedthe very liberal u e of the imagination tipulated in The ,'piritualExercises of St. Ignatius, he "harnc ed the techniques for using it to createdeeply felt experiences of history" (p, 24 3).~-') 253. RAUBER, D. 'i'. "Donne's 'Farewell to Love': Crux Rcvi ited."cr 3, ii: 51-63.Presents a stanza-by-·tanza reading of "Farewell to love." Calls the poemonc of Donn e', "most extreme poems," maintains that there is "no otherpoem in the canon which matches it in bitterness or loathing," and arguesthat it is "one of Donne' most powerful presentations of a completelymechanistic universe in which man ha: no place of importance but I.only the tool of alien forces" (p, 5\) . Comments in detail on the difficulllines 2 30, which John Hayward called "the 1110st unintelligible in thewhole canon of Donn e' poetry" (as quoted on p. 51). laintain that inthe lines Donn e is sugg sting that natu re decrees both the curse of brevitin intercourse and po t-coital sadne for the purpose of promoting gen-

1\ Bibliograph)'cfCriiicismeration and that these degrees show that "nature performs her one taskwith a ingle-mindcd conce ntration. completely indifferent to the fate ofthe individual, com pletely indifferent to the human world" (p. 60). Suggeststhat Donn e, like man y of hi contemporaries and like modern man ,is filled with self-contempt because he "recognizes that he is un avoidablya part of the great mach inc" (p. 61).~~ 254. REEVES. J/\ ME . ,\; D M ARTI N SEn.1 Un-SMI TH. Inside Poetry.I ew York: Barne & oble: Frome and London: Butler and Tann er.vii, 178P.Briefly explicates "A Fcaver" (pp. -1-3-45) and calls Donne "perhaps thesupreme intellectual of English love poetry" (p. 45). Stresses that the poem"has strong feeling as well as being characterized by involved thought"and notes that "the ending is lyrical and certainly rounds off the thinkingwith a fi rm and convincing emotion" (p. 45). Reproduces "His Picture"(pp. 162-63) without conu ncnt.~ 255. REWA, M ICHAEL . "Biography as an Imitative Art." English 5)'111­posium Papers ( tate Univer it)' of ew York College at Fredonia),edited by Dougla hepard. I : 3- 28.Briefly discusse Walton' Life of Donne as an example of biography"whose imitative obi ct i a thematic action , a per on 's triumphing overorne" (p. 8). Suggest that through carefully cho en comparisons. rhetoricaldevice. u e of framing, internal alliteration, and so on. \\'cIlton buildhe firs t part of his biography upon the theme of Donne' tran ccnding thefru trations, despair, and ravage of time that threaten to de troy him bycommiting him elf to a life of the pirit and that in the second halfWaltonimply catalogs Donne' virtue, "a catalogue that eontain and define thequality of numerous separate action " {p, 10).:.l!: 256. RICHMOND. H. M. "Ronsard and the English Renaissance." CLS7: \.p- 60.Suggests that ill some of his most distinctive poems (such as '111e SunncRising," "Negative love," "Aire and Angels," "The Apparition ," "The Ca n­onizalion," "TIle Relique," "T he Funerall," "Twicknam garden," "The goodmorrow"and especially "Batter my heart") Donne borrowed ideas, themes,Images, tones, and even situations from Ronsard, "who offers consistentlyrelevant precedents for Donne's idiosyncrasy, subjectivity, and verve' (p.1 1 . Points out. for examp le, that "the theological theme, the despairing°uality. the military imagery. the alliterative verbal intensity, and thepo edly unique dramatic opening" (p. 144) of "Batter my heart" areived from a little-known sonnet by ROil ard, beginning "Foudroye 1110)'c rps, ainsi que Capancc" (p, 144). Argue that a detailed knowledge0 11 ard is required for an exact appreciation of Donne's poetry.

John Donne~ 257. R0STVIG, MAREN-SOFIE. "Ars Aeterna: Renaissance Poetics andTheories of Divine Creation." Mosaic 3: 40-61.Discusses the importance of numbers and numerology in Renaissancethought and "how the tradition, dating back to Antiquity, of philosophisingby means of numbers necessarily influenced the theory of artistic creation"(p, 43). Notes that since Donne mentions Pico della Mirandolaand Francesco Giorgio in the same sentence in the Essays in Divinity, "iis likely he made their acquaintance through the one-volume Frenchtranslation published in Paris in 1579" (p. 58). Maintains that if this is thecase, then he would likely have read the prefaces that were contributed bythe translators, Guy and Nicolas Ie Fevre de la Boderie, which "sum mariseand underline the relevance of cosmic structure to poetic theory an dpractice" (p. 58).~ 258. RUKEYSER, MURIEL. The Traces of Thomas Hariot. New York:Random House. 366p.Refers throughout to Donne's relationship with persons closely associatedwith Thomas Hariot (1560- 1621), especially the Earl of Northumberland,whom Donne asked to intercede on his behalf with George More.his father-in-law. Comments briefly on Donne's interest in the VirginiaCompany; his friendship with John Pory, who became secretary of thecolony; his trip to Germany with Doncaster; and his connection with Essexthrough his relationship with Sir Thomas Egerton. Discusses brieflySpanish influences on Donne, especially G6ngora.~ 259. SAOTOME, TADASHI. "[uso to Kaigi to Ketsui-Runessansu [ojoshino Ichirnen" [Curse, Doubt, and Resolution-An Aspect ofRenaissance Lyric Poetry]. SELit 47, no. 1: 29-39.Compares Donne to Shakespeare and suggests that Donne developed aShakespearean dynamism within the framework of religion. Commentson the Divine Poems, especially the Holy Sonnets, and maintains thatDonne's sonnets alone can equal those of Shakespeare but that, whileShakespeare continued to grope in the darkness of doubt and despair, Donnediscovered a world of light in the darkness that surrounded him. DiscusseDonne's attitudes toward the relationship of the body and soul , his conceptof death, and his pervading Christian Platonism. Maintains that inthe transition from Donne to Milton and Marvell the mystical nature ofPlatonism was weakened by an intellectual attitude so that it finally becamemerely an aesthetic and literary framework.~ 260. SAUNDERS, J. W "The Social Background of Seventeenth­Century Poetry," in Metaphysical Poetry, edited by Malcolm Bradburyand David Palmer, pp . 237-59. (Stratford- Upon-Avon Studies,11.) London: Edward Arnold; New York: St. Martin's Press.Argues against the simplistic notion that the seventeenth century is onl y"a transition period of total conflict sandwiched between two opposed age

A Bibliograph y ofCriiicismof relative clarity and stability, so that its social phenomena may be rationalizedas developmen ts en route between the starting-point and an endvenue of a completely different kind" (p. 237) and explores some of the"particular defi ciencies in the Tudor fabric which required change andwhich indeed began to change with the poets of 1600 to 1660" (p, 2,p ).Suggests that the main development in the social context of poetry was"the emergence of an educated and intellectual printed-book public" (p.257), resulting in "poetry as a national and learned art, which increasinglytakes itself seriously and draws away from its roots in popular entertainment"(p. 258). Argues that, altho ugh this intellectualization producedmany good effects (not the least of which was the poetry of Milton andPope), "it lost the saving grace of the courtly age, the unity of the audiences,and through that unity, the un iversality of poetry" (pp. 258- 59).Mentions Donne only briefly to comment on his reluctance to commithis poetry to print: "He was fundamentally the courtly satellite whose poetrywas essenti..J1 to his private lifc and thinking, but whose primary amliitionwas non-literary and who therefore saw no justification in makingpoetry public" (p. 250)'~ 261. S CHLEINER, W INFRIED. The Imagery' of John Donne's Sermons.1. IfProvidence: Brown University Press. x, 254p· J;Attempts "to find suitable historical and linguistic contexts for the irn- ,

John DonneExegesis of Scripture" (pp. 163-200), examines a number of Donne's tropes"that are neither part of a conventional field of imagery nor decorousaccording to the Renaissance principle of hierarchy" (p. 204) to show that"there is behind his practice a traditional method based on the vox-resdistinction, that is, the medieval theory of the special significance of theword of Scripture" (p. 200). Argues that "certain semantic theories thatwere the basis of conventional biblical exegesis supplied a pattern for whatotherwise often appears only abstruse, overingenious, or shrewd" (p. 164).Chapter 5, "Conclusion" (pp. 201-4), succinctly summarizes the fourpreceding chapters. Notes, selected bibliography, and index (pp. 207-54).~ 262. SCHMIDTCHEN, PAUL W "The First Poet in the World . .. InSome Things." Hobbies 75 (November): 134-36.Briefly discusses the tensions and contradictions of Donne's life; suggeststhat Donne would be addicted to crossword puzzles if he were alive today;and challenges Donne's statement that "No man is an island": "only suborningcatastrophe can result when the island barriers of man, innatelyand accumulatively structured, inconsiderably are laid waste under thepseudo-concern for promoting a social good" (p, 136). Suggests that Donne"achieved an also-ran place in a second-rate galaxy, since nothing of sustainedeffort or major proportion ushered forth from his quill" (p. 136).~ 263. SHURBANOV, ALEXANDER. "A Study of John Donne's Reform ofElizabethan Imagery." Annuaire de I'Univetsite de Sofia. EacultedesLettres 64, no I : 229-92.Examines Donne's reform of figurative language, especially as reflectedin the Songs and Sonets, to show that, although his imagery has its rootsin contemporary Elizabethan poetic theory and practice, he was "the mostradical innovator of the short reflective lyric" (p. 229). Section I, "The«Elizabethanness. of Donne's Imagery" (pp. 231-37), discusses similaritiesbetween Elizabethan and metaphysical imagery and argues that, sincemost of Donne's imagery is conventional, even in its disparagement ofstock figures, he should be seen not as a rebel against but as a reformer ofRenaissance tradition. Section 2, "The Imagery of the Elizabethan Sonnets"(pp. 238-60), comments on types and patterns of imagery used bythe Elizabethans and stresses the abstract, compressed, nonsensuous, emblematicquality of much of the figurative language. Section 3, "ConventionalImagery Reshaped" (pp. 261-87), discusses Donne's innovations inthe tradition and comments on the repercussions of these changes. Maintainsthat Donne primarily emphasizes tendencies that were already evidentin Elizabethan imagery: he deepened the process of compression andconcentration of conventional imagery, preferred abstract and unsensuousimages (especially technical and scientific ones), and developed the conceitas a functional vehicle for argumentation and as the basis of the wholepoem, thereby demolishing the allegorical poem based on emblematic

A Bibliograph >, of Criticismstock imagery. Presents a urnrnary in Ru sian (pp. z 7- 9 1). For a continuation,ec entry 601.~ :!6... ICHEn IAN. CAR L ~1. "I onnel Timeless Anniversaries." l'Q39: 1Z - ,,".Reprinted ill Essential rticles for the tud)' of 10hn Donne's Poetry,edited by John R. Robert (entry 6). PP' 374- 6.Calls the two Anniversaries "the most extended version of Donne's battlewith himself" (p. 1 2 ). Presents a reading of the two poems to show thatin The {irst Ann i\'Cr aT)' Donne earche. "not so much for an answer afora question;confusion and mcon i. tcncy increase until at la th e emerge:into the realization upon which the .cconcl poem is founded. that thisworld '] not worth a lhought'" (p, 1 2 ). Sees the first poem, then, "simpl 'as an eloquen t expression of the anguished discovery of failure" that "enablcsits sequel to attain a better balance of intellect and emotion, to attainthe ultimate insights which unify the entire bipartite poem" (p, 129).Maintains that The second A/11Iiversarie "shows Donn e by an act of willrefusing to think about the world he still occupies and, at least for themoment, finally succeeding in achieving that certainty expressed in theparadox of Holy onnet XI " (p. 129). Argue that the "she" of the poembecomes identified and defined a a ymbol for piritual perfection.~ : z65. SMITH , t\. J. "The Failure of Love: Love Lyrics after Donne:'in Metaphysical Poetry. edited bv Malcolm Bradbury and DavidPalmer, pp. 4 1-71. (Stratford-Upon- von Studies, 11. ) London:"dward mold; cw York: t. -lartins Press.urveys the love lyric after Donne to show that a change in societalattitudes toward love and ex is reflected in the poetry of the period andnot that by the end of the seventeenth century love "is no longer thefigure of a relationship between our nature and a higher order" but beornes"v hatcver we can per onally make of the human attraction beecnmen and women" and "i mutu al erotic passion and the search for.ual atisfaction" (p. 66). Examine the love poetry of Codolphin, Stan-"'lawn.hcnd, Carew, Rochester, I ovclace, Suckling, \Y..1I!cr, and oth-.toshow that, although these poets exhibit formal virtuosity, ironic wit,itcllectual control, and a dialectic manner, they also reflect that, afternne, "the gulf between writing of love and writing of fi nal thing seemslute" and that "sexual lov no longer offered a paradigm of the issuesthcn confronted men" (p. 52). Note that the only dynamic impulse, "the lonely effort to bring home our fallen condition 0 a ' tone elf nearer the fir t tate" and that. "after Donne, cxual loveno \\ \' to that" (p. 1).. - - . "The Poetry of John Donne:' in English Poetry andP • I )-10'-1674 , edited by lu i topher Ricks, pp. 13 - 2 . (His-

Q4 • 119 0] lohll Donn etory of Literature in the English Language. vol. 2.) London: Barrie& Jenkin '.Paperback ed.. ipherc Book . 1970.Comments UII the distinguishing characteristics of Donne's mind andart as reflected in his ecular and sacred poetry, such as the pcn·a. ive andconstant play of wit; the complex uses of the conceited argument; thecontinual play of intelligence in highly dramatic situations; the clementsof theatricality. figurative ingenuity. and realism:and the pervading comicvision that reflects a mind always determined to view human life andhuman relativity as they really arc. Point' out that essentially Donne's wit"become a matter of seizing what is really there; of hawing in the orderof our human condition the mo al and metaphy ieal order it truly hold ,and approxima ting to the structure of reality as every order of existencedisplay. it" (p. 16 ). Maintain that the 1110st distinguishing feature of hispoetry is "its radical play of intelligence" (p. 169) and suggests that "it isthe steady concern to get at the actualit of our human circumstances.and the earch for way of coming to term with il, that holds all his poetrytogether in a coherent vision" (p, 170)'~ ,. z6 . TAM I'F ER. J DAB . [ohn Donne and the Metaph)' ical Gesture.New York: Funk & Wagnalls. xx, 29 p,Pre cnts a critical reading of Donne's ccular and religious poems inorder to how that "their development. their lyric plots. their modes offulfillment . . . how a considerable unity, and even shadow forth the poetwho was their author" (p, xviii), The introduction (pp. ix- xx) commentson the peculiarly private. immediate, and personal nature of I anne's poetryand stresses his lise of a lyric plot. rgues that, although he projectsvarious personae or uses different speakers in his poems, "his craggy presencei everywhere pre ent-the skeptic, the fanatic. the eva. ive metaphysician"(p. xix). Part I, "Th e Poet and Hi Craft," consi ts of two hapters.Chapter I . "The Metaphysical budder" (pp. 3-36). attempt to distinguishmetaphysical poetry from other modes. e pecially tho e of Milton.the Romantics. and the earl modern poets (Yeats, 'liot, and so on),Maintains that the metaphysical pocb "wrote ego poetry. that i . the poetrythat xprcssed a consciou mind coming to terms with the realit ' about it"and argues that their poems "lake place in a situation, a particular hereand 1l0W to be assessed and \ orked with" and thus that the poem "is 110ta set-piece . . . hut an event to be mastered" (p. 23). Comments on I onne 'usc of the lyric plot. Chapter 2, "John Donne" (pp, 37-61), presents Ibiographical ketch and a p ychological analysis of Donne that later accountfor the arranging and interpreting of the poem . tresse Donne'psychosexual development as projected in the voices in his poem . PartII, "111c Early Poem :. can i Is of four chapters: "The Promi cuity Poem ..(pp. 65- 3), "' 111e ~Ii ogyny Poems" (pp. 4- 96). "111e Rejection Poems"(pp. Cn -IOS), and "The Compromises of Love" (pp. 109 - :W). each 0which analyze. individual poems according to amatory themes and gc -

t\ Bibliography ofCriticism [19 0] . 95lures and according 10 the changing perspectives of the poet. Part Ill."The Poems of Marriage," consists of five chapter: "TIle Structure of Love"(pp. 1 ::! 3- .W). "Th Marital Poem " (pp. 141--7). "Poems of Parting" (PI'.1- - 70). "TIl(: Mellow Progr of Love" (PI'. 1 1- 4), and "Loves Death"(pp. 1 5- 97). each of which. ba 'ed on biographical and psychologicalassumption, explores different a peels of Donne's more mature attitudetoward love through the anal • is of individual poems. Part I\~ "Specialubjects ," con i -t of two chapters: "T he Fragility of Art" (PI'. zo 1-14) and"Anniversaric " (PI'. ::! 15-::! ). Part \ , "T he Religion Poem : ' con. is oflive chapters: 'The Early Devotions" (PI'. ::!31- 41), "Holy onncts: 1" (pp.242-52), "HoI · Sonnets: z" (PI', 2- 3-66), "Holy Sonnets: 3" (PI'. 267­77), and "TIle Visionary Engagement" (PI'. ::!7S- SS). each of which suggestsa spiritual advancement 0 11 the part of the poet, the unfolding of the"I:' as he moves through the various tages of the spiritual battle and fi ­nally in "A H YIJ1Ill.: to God th · Father" expresses his final self-surrender.Selected bibliography (pp. 2 7- 9 ::!).~~ 268. STANWO D, P. "Patristic and Contemporary Borrowing inthe Caroline Divines: ' RClIQ 23: 42 1- 29.Commen ts on the widespread practice amo ng Caroline divines of drawing0 11 patristic sources as well as from each other. Gives :1Il example ofDonne' and John Cosin' usc of t. Gregory the Great and perhaps of thework of each othe r..,- 269. STET '. An ' UJ . "Metaphysical Poet : ' YR 59: 59 -604.Review articl of Earl Mirier, The J Ietuphysica! JVlooe from Donne toCOlll/e)' (entry 123); A. L. lernents, The lvl -stical Poetry ofThomas Traheme(Cambridge: Harvard nivcrsity Pre . 1969):Ann E. Bcrthoff. TheResoh'ed Soul: A tud)' or 1\ larve1/' lvlaior Poems (Princeton: Princetonniversity Press. 19 0): and Louis L. ~ lartz, The Wit of Love: Donne,Carew, Croshaw, fvlarl'ell entry I 17).~ 270 . STRZ ET ELSKI , Jl!:RZV. The English onnet: Syntax and Style.Krakow, Poland: [agellonian University. 1491'.Employs descriptive linguisti . to examine the contribution of syntax tothe style of the English sonnet and attempts "to fi nd out what describablerrnal syntactic features or the sonnets differentiate the style of the En­11 11 sonneteers from one anoth er" (p. 12). Comments in detail on theructureand syntax of Donne's "W hat if this present were the worlds lastht. ~ (pp. 60- 65). Identifi es and illustrates certain chief characteristichi "highly individualized and idiosyncratic style" (pp, 1° 7- 12) andrve that ";1 the most frequent and violent Ieature is the precipitation,nne's sonnet ar the most tense and can equently the swiftest of all.it com ' 10 releasing th tagmerne-filler" (p, lIZ) . uggests that,11 t: the piling up of the ten ion occur both in the hard and in thetnrcture . and becau c it i ounteracted by series of slow free unit .

oh11 Donnethe overall resultant i. balanced" and that "the violent pulsation of ten ionand relea cis, however, conspicuou and the general effect i that of generatingand curbing v 'ry much ene rgy" (p. i i a). Sugge ·ts that H rb rfstyle is more involved and more complex than Donne's. Includes cveralillustrative tables and harts.~ 2 I. lJ I IER., J EPH H. The Heirs of Donne and Jonson. London:Chatto and Windu ; ew York: Oxford University Press. IC} p.Argues that "most of the interesting poets of the period were in omcense heirs of both I anne and Jonson and that they wrote succes 'fully alarge number of different kind of poetry" and maintain that "granted thegeneral ondition of the language, the literary and intellectual currents,the 'spirit of the age.' and other large and vaguely apprehended abstractions,for the seventeenth century as for other periods one can discoveralmost as many aesthe tic as there are interesting poets" (preface). Rejectsthe notion of "schools" and fi nds the term metaphysical poetry less thansatisfactory Proposes that Herrick. Suckling, Carew Henry King. corgeHerbert, rashaw \~1 lJ gh a n , and Marvell may best be seen as heirs ofDonne and Jon on, "not with the implication that later poets had anyfa milial or natural right or that either Donne or Jonson intended that theyshould inherit, but in the simple recognition that they came to occupy agood deal of the literary estate of their two great predecessor " (p. 1 ; ).everal part. of the book are reprinted from earlier works: Chapter I , "T heHeritage: Donne and Jonson" (PI'. 13-40). fir t appeared a "'1he Heritageof Donne and Jon.on (entry z7z); several paragraphs in Chapter 3."Gentlemen at Horn e and at hurch" (pp. 76- 101), appeared a part ofthe author' introdu tion to The elected Poems of George Herbert ( ewYork and London: The 1 lew American Library and T he ew ~ n g li s hLibrary, 1967); the dis u sion of Marvell's "The Garden" in Chapt er 5."T he Alchemical Ventriloqui I: Andrew Marvell" (pp. 130 - - ; ) , fir.tappearcdin CelltR 13, no. I (1969); and several paragraphs from hapler;and mu ch of Chapter 6, "Private Taste and Public Judgcment: AndrewMarvell" (PI'. 156- I). were included in the author'sessay, "Andrew Marveil:Private Taste and Public Judgement," in lvletaph)'sical Poetry editedby ~ lalcolm Bradbur ' and David Palmer (entry 1 2 ) , pp . I l - z09. howin the individual studies of u kling, Herrick, Carew (Chapter 2); HenryKing and eorgc Herbert (Chapter 3); Richard Crashaw and Henry vaughan(Chapter 4); and Marvell (Chapters 5 and 6) that "Donne and Jonson'sinheritance was less important a a fabulously rich collection of specificmodels th;1I1 as a uggestion of the possibilities available for individualpoets who were willing to explore varying, and even contrasting, speakers,modes, genres, and literary ideal. " (p. 40)''~ ~ 2 7 2 . _ 'The Heritage of Donn and Jon on." TQ 39: 10--26.Reprinted .1S huplcr I (PI" I '3- 40) of The Heirs of DOt/lie and fOIl.UIIentry 2 ( 1).

A Bibliography of CriticismDistrusts the term metaphysical poet')' because it "inevitably results inan emphasis on the influence of Donn e and one kind of poetry at theexpense of other in fluen ce and kinds" and suggests that heirs of Donneand [onsou is preferable because it correctly points out that later poets"came to occupy a good deal of the literary estate of their two great predecessors"(p. 108). Argues that the inheritance "was less important as afabulously rich collection of pecific models than as a suggestion of thepossibilities available for individua l poets who were willing to explorevarying, and even contrasting, speakers, genres, and literary ideals" (p.126). Outlines some of the major features of Donne's and Jonson's art,showing the differences as well as the similarities between the two, Arguesthat, when one compares the poets, one is tempted to set up a series ofopposites but cautions that the "marshalling of abstractions can be misleading"(p. J 25) and can obscu re the similarities between the two poets.~ 273 . THORNBURG, THOMAS R. "Donne'sThe Extasie: A Definition ofLove." BSUF 1 J : 66-°9.Argues that. although "The Extasic" "retains the trappings of the standardinvitation a I'amour" it is essentially a serious disquisition on love,"a definition of earthly love considered as a manifestation of the metaphysicof Love" and therefore "what Dryden would call a 'nice speculationin philosophy" (p. 66). Comm ents on Donne's use of the conden sed conceitand analogy and uggest that hi usc of the conceit is "the contro llingaspect" (p. 68) of hi. work.~ 27-1-. HORNE, J. I ~ "Generative Grammar and Stylistic Analysis," inNew Ilorizons in Linguistics. edited by John Lyons, pp. 15 5- 9 7 .Harmondsworth, Eng.: Penguin Books; Baltimore: Penguin Book :Ringwood, Australia: Penguin Books Australia.Reprinted many times.Briefly comm ents on certain deep structures in "A nocturnal] upon S.Lucies day" to show that "the poem has .cntences which have inanimateIIOUns where one would usually expect to fi nd anima te nouns and animatenouns (or rather the animate fi rst person pronoun) where one wouldexpect to find inani mate noun s" (p. 193). Argues that "these irregularitiesare regular in the con text of the poem" and that "these linguistic factsunderlie the sense of cltaos and breakdown of natural order which manyliterary critics have associated with the poem" (p, 193). Suggests that, ineffect, Donne creates a new language and that, therefore, "the task thatfuce.'i the reader is in some ways like that of learning a new language (orialcct)" (p. 19 4.).r 27 :;. TOMLINSON, T B. "Donn e and His Critics." CR 13: 84-100.'valuate Donne' vision of love and his love poetry, prima rily by di ­eeing with the opinions of several modern critics. such as Helen White,mond Tuvc, A. J. mith, Douglas Peter on, and Louis Martz . uglhalthere is a tenden cy in Donn e criticism to protect the poet and

John Donnehi poetry from advcn c criticism, to find highl questionable inAu necsat work in his ver c, and 10 .en timentalizc both the poet and h i. poetry.laims that Grierson. in the introduction of his two-volum e cdilion ofI onncs I' etry (1912), opens up "ma rc of Donne's truly radical and bitingpoetry than any critic before or ince ~ (p. 100), while recognizing thelimitation imposed on rier on by his eorgian background. 'Iainlainsthat the main thru t of Donne' love poetry "i 10. how the world of experiencea in the end (and indeed at the age of twenty-five) a weighingmarc. and worth more, than the world where ouls dwell or shall dwell"(p. 94). Points out that modern critic arc bothered becau e anne "canand do ' hange from a lyrical love to a thoroughly carnal world with .alittle en e of personal up et or train" but argues that. although Donne"attack the danger f and in the world, or in European fa hion andb haviour," he can, at thc arne time. "take part in that world. all somethingof it own term . and without being at all upset or disgusted or tiredby it" (PI'· 96-97).~~ 276. TUFTE, VIRGINI . "Jonson and Don ne." in Tire Poetry' of Marriage:Tire Epithalamium in Europe and Its Development in England,PI'. 20 -29. ( niversity of outhern California tudie inComparative Literature, vol. 2.) La Angeles: Tinnon-Brown.Briefl y compares and contrast the epithalamia of Donne and Jonson.pointing out that both expre the theme thaI perfection can be attainedthrough marriage and that both arc given to' verbal and . tructural ingenuity,Maintain that Donne, however, i less conventional and that "inhi hands. the epithalamium becomes a mixed mode in which humor,atire, philo ophical ob crvations, and commentary on men and affairsaccompany the more cu ternary topic and devices" (p. 219). I Iote: thatI ounc' epithalamia, like his other poems, arc h. racterized b. "extendedconceits, bold metaphors. exaggeration. ambiguity, epigrams. puns, colloquiallanguage. a strong dramatic elemen t, and argumenta tive trueture"(p. 219. Cornrncnb 0 11 the enigmatic nature of "Epithalamion madeat Lincolnc lnnc' and sugge Is that "An . pithalarnion, Or mariage ongon the Lad , Elizabeth" is "one of the mot ingenius epithalamia afterpen.er and onc whi h best demon trates I onnc' major contribution 10the mode, the restoration of humor" (I'. 226). riticizes " eclogue. IG1 .De .mbcr 26" for it farfetched, rnarinistic conceit and suggests that it isprimarily interesting "for its form. a few brillianl passages, and its hint, . . of melancholy" (p. 226).•-"!~ 277. \ EAR, JOB . "The Man Beh ind the Vcr e." Bolt I, i: 2 -27.Comments on I an ne's view on pleasure as reflected in "'I hc Baite,'Briefly compare the I ocm with Marlowc s " he Pa sionatc Shepherd 10Hi ' Love" and suggc Is that or Donne sensuous desirability of the womanwould not be enough and that "he would also take along his intellectual

A Bibliograph y of Criticismbrilliance, satiric wit. for good company-in case the other went hard onhim" (p. 24).~ 278. VICKERS, B IUA . Classical Rhetoric in English Poetry. London:Macmillan and Co.; I ew York: L I lartin's Press. i Sop.Mention Donne througho ut this concise history of rhetoric. Gives examplesof Donne's u es of various rhetorical figures: anaphora in "T heIndifferent": barison in "The Indifferent," "Iwicknarn garden," and "LovesAlchymie"; asyndeton in "Loves Usury" and "On his Mistris"; auxesis in"A Valediction: of the booke" and "On his Mistris"; epanalepsis and episttophein "T he Extasic" and "The Indifferent"; polce in "1\ nocturnal!upon S. Lucies day," "The Annivcrsaric," and "Song: Sweetest love, I donot goe"; anadiplosis in ",\ Valediction: of my name, in the window";antitnetabole in "T he good-morrow"; s)'ll ep ,~is and zeugma in "The Canonization";and polyptotoll in "Iwi cknam garden" and "Loves exchange."~ 279. WARNKE, F RANK J. "Metaphysical Poetry and the EuropeanContext," in fvletaph ysical Poetry, edited by Malcolm Bradbury andDavid Palmer, pp. ;:61- 76, (Stratford-Upon-Avon Studies, 1 1.)London: Edward Arnold; New York: St. Martin's Press.Suggests that most scholars and critics today would agree that metaphysicalpoetry is "a kind of poetry created in England during the first twothirds of the seventeenth century, distinguished by a radical use of conceitedimagery, rational or argumen tative structure, a specifically intellectualemphasis manifc ting it elf usually in a non-sensuous texture. a Ianguage-sometimcs colloquial, sometimes learned-from which all tracesofspecial poetic diction has been purged, a markedly dramatic tone, anda preoccupation, in both amorous and devotional poetry, with themes ofIran cendence and aspiration" (p. 263). Attcmpts to point out "the connectionsbetween this poetry and a broader historical pattern, a more inclusivegeographical scope" (p, 263) and thereby to challenge the notionthat metaphysical poetry is a "school" (especially a "school of Donn e")and to show that England shared certain literary traditions with the Con ­tinentand participated in certain historical developments that "make theexistence of metaphysical poetry outside England inevitable" (p. 264). Seesmetaphysical poetry as one of several versions of baroque literature andpoints out similarities between certain Continental poets (Jean de laCeppede, Francisco de Quevedo, Lope de Vega , Constantijn Huygcns,ommasa Campanella, Paul Fleming , Jean Bertaut, Peter Motin, Th eohilede Viau, Hofmann von Hofmannswaldau, and Marc-Antoine delilt-Amant, among others) and the •nglish metaphysical poets, espelallyDonne, Herbert, Vaughan, Traherne, and Marvell, in order toemnnstrate that "metaphysical poetry is an international Europ ean pheomenon"(1'. 276).

100 . [19 0] loh1l Donn eu!! ,. 2 O. \\ ,\1 O• • C E I~GE. "The Language of the Metapliysicals." inLiterat» English Since. hakespeate, edited by George \ a on, pp.156- 7+ London, Oxford. ew York: Oxford University Press.Fir t issued as an Oxford University paperback in 1970.rgues that "thcr is no trictly linguistic wa . to take intellectual pas e ­sion of metaphysical poetry, and that this judgment must apply, though indiffering measure, to Renaissance and to modern method of lingui ticanulysi .. (p, 162). Chooses Donne's "Ncgative Love" and Herbert's " ertuc"to test certain "ancient and accepted as umption about the \\":1. ' thatlanguage works in them" (p. 162). Comments all a number of common(though not universal) aspects of metaphysical poem : the narrative quality,the u:e of dramatic monologue. the en e that the poet and the readershare an experience, the coterie nature of much of the language, the useso argumentation. and 0 0'1. rgue that the hi tory of rnctaphy ical poetry"seems to be a progress toward public status" and note that "this i alanguage that begin in relative ccrecy among friends, and turns dccisivelytov ard public utlerance with Herbert's Temple" (p. 1 0). Commenton a number of literary, philo ophical, and moral rea.ons for the virtualdemi e of rnctaphy ical poetry aftcr 1660.~,. 2 1. W EDGWOOD, . V Seventeenth-Century English Literature. aded. (Oxford Paperbacks niversity eries. no. - 0 . edited by D. R.Newth and Anthon)' Quinton.) London, Oxford. New York: OxfordUnivcr ity Press. q p.Revi ion of the 1950 edition (published in the Home nivcrsity LibrarySeries) with a new bibliography. Comment brieRy on Donne's errnons(pp. 23- 25, 7 1) and characterize them as having "a compelling. dark.and difficult eloquence, a mixture of medieval logic with the sensualspeculation of the Renai.sauce" (p. 23). In "John Donne and CarolinePoetry" (pp. - 1- 69) commcnf 0 11 the general charactcri tic. of 1. annessecular and sacred poetry. his fl uctuating reputation over the centuries,and stresses his wit, genuine pas ion, logic chopping, complexity. andhumor. Says that his attitude toward love is "satirical- ullcn' (p. 23 ) andmaintains that his love poetry comes from his personal experiences. Brieflycompares him to rashaw Lovelace, Herbert. and Chri topher Harvey.~9 28 2. \ ElDlIC RN, MA. FRED. Dreams in Seven teenth-Century EnglishLiterature. ( tudie. in •nglish Literature, -7.)'I he Hague andParis: Mouton. 1671'.Discusses major theories of the dream from Horner 10 Hobbe . the u esof the dream in Western literature, and. in particular, eventecnth-centurycontribution to the traditional dream genres. Comments all how Donneuses the dream trance and osmi voyage to hold together the varied materialin Ignatius his Conclave, "a atire directly of the Jesuit and indirectlyof the innovations wrought in medicine, cosmology, and politicaltheory by the Renaissance" (p. 79). omments also on the influence of

A Bibliograph)'ofCrifici m [19 01 • 101Kepler' omnium and alilco' idereui on I anne's eoplatonic notionthat "in sleep the .oul undertakes farAung voyages to obtain knowl dge"(p. 1). Discu e briefly Donne's usc of love-dreams in hi poetry, e peciallvin "The Dreame' (in 'emu: and 'onet ) and in "Elegy: The I rea rne."Suggc ~ th: t the be t lov -drea rn lyric in the English Renai. nee arcDonne' dream lyrics, Herrick's "\ in :' and lilton s Sonnet 2 ~ . Brieflycontra Dryden' u e of the convention with Donne's.~ ~ 2 3. WINNY. Jt\l\IES, A Preface to Donne. (Preface Book , gen. ed.I laurice Hussc ,) Foreword by Maurice Il u ey. 1 lew York: Charlescribne rs on; Harlow: Longman s .roup . lOOp.Reprinted: Charle • cribne r' ons. 1C7:.Primaril, intended "for tho e who are fre. h to the poetry of I onne andrealize that critical guidance is essential before this intricate verbal art cancommu nicate to us today" (foreword). hapter I, "John Donne" (pp. 9­52), presents a biographical sketch of Donne and his times and traces thedevelopment of I onncs critical reputation from the seventeenth centuryto T. S. Eliot. haptcr 2 , "The Religious Background" (PI'. 53- 67), surveythe religiou. hi. tory of ~ n g l a n d from the time of the Reformation tothe Comm onwealth and pre ent a brief account of the controver ie. betweenthe , tablished hurch : nd the two major dissident group. , theCatholics and the Puritans. Chapter 3, "T he Intellectual Background "pp. 6 -

John Donnenocturnall upon S. Lucies day" to show that love exists in Donne's poetryonly because it does not fully exist in reality. Comments on the "nonexistentialexistence" of love in Donne's love poetry.~ 285. YOKOTA, NAKAZO. "Donne no 'The Extasie' ni tsuite" [O nDonne's "The Extasie"], Kiyo (Kyoyobu, Tohoku Daigaku), no. 11(March): 1-18.Argues that "The Extasie" is not a Platonic poem but rather an argumentfor the interdependence of body and soul.1971~ 286. ANON. "Testing Time for Donne." Cambridge Evening News, 5May.Announces that Oliver Neville will read Donne's Sermon on Psalm 63at the morning service in King's College Chapel on 9 May. Notes that thesermon was preached originally at St. Paul's when Donne returned toLondon after the plague.~ 287. AHRENDS, GUNTER. "Discordia concors: John Donne's 'Nocturnailupon S. Lucies Day.'" NS 20: 68-85.Presents a detailed analysis of "A nocturnall upon S. Lucies day." Arguesthat ambiguity and paradox are the organizing principles of the poemand claims that Dr. Johnson's description of metaphysical poetry as "discordiaconcors" is the very center of the message of the poem: "Die Einheitin der Zweiheit betrifft jedoch nicht nur die zentrale Aussage desGedichts; diese ist vielmehr eingebettet in ein Geflecht von Doppeldeutigkeit,Doppelschichtigkeit, Doppelbezugen und Doppelsyrnbolik" (p. 69).Suggests that the modern reader is too inclined to reduce the paradox andambiguity or at least to attempt to resolve them, whereas the seventeenthcenturyreader was content to allow them to remain ambiguous and intact.~ 288. AIZAWA, YOSHIHISA. "John Donne no Skukyo-shi (I)- La Corona0 megutte" [John Donne's Religious Poetry (1)- O n La Corona].Bunkei Ronshii (Jimbungakubu, Hirosaki Daigaku) 7, no. 1(Bundaku-hen VII) (December): 1-17.Discusses Donne's religious conversion and presents a critical analysisof La Corona. Comments on the devotional tradition of the sequence andon Donne's religious sensibility reflected in it.~ 289. ANSELMENT, RAYMOND A. "'Ascensio Mendax, Descensio Crudelis':The Image of Babel in the Anniversaries." ELH 38: 188-205.Argues that the image of the Tower of Babel in The second Anniversarie(line 417) is symbolically and structurally important to the meaning ofboth Anniversary poems. Points out that its traditional association with

human vanity, ambitious delu ion, pride, and evane cence is used in bothpoems to de:cribc Donne' ass s ment that all human achievement motivatedby pride and worldly ambition will lead man ultimately to debasement.not to exaltation. uggcs that the image of the \\'

John Donne~ 293. BENOIST, JEAN-MARIE. "La geometric des poetes metaphysiques.'Critique (Paris) 2T 730-69.Uses the critical principles of Derrida to comment on Donne's imagery,especially his images of the tear, the specular stone, the glass, the flea,and the planisphere. Praises metaphysical poets because they recognizedand accepted a universe in flux: they "bouleversent l'economie de la metaphysique,par lesquels ils reinstallent avec audace la discontinuite heracliteenned'un temps sans teleogie au sein merne de orbe parrnenidiennedans laquelle rien n'advenait' (p. 769). Explicates "Hyrnne to God myGod, in my sicknesse," noting particularly the images of transgression,and briefly compares it to Marvell's "To His Coy Mistress."~ 294. BENSON, DONALD R. "Platonism and Neoclassic Metaphor:Dryden's Eleonora and Donne's Anniversaries." SP 68: 340-56.Contrasts Dryden's uses of Platonism with the all-pervasive Neoplatonismunderlying Donne's Anniversaries and shows that the "She" of th eAnniversaries "is a figure of us, of our essence and nature's, now corrupted,whose purity can be restored only by grace, as a gift" whereaEleanora "is a constructed idea of what we might make ourselves into,built up out of selected and heightened parts but given at least a semblanceof divine origin and authority by allusive identification with divinepersons" (p, 352). Suggests, therefore, that in the Anniversaries "the anatomyof the world is integral and necessary" but that in Eleanora it is "onlya moralizing addendum" (pp. 352-53). Notes that the "She" of Donne'spoems "is a figure of original virtue itself" (p, 349) whereas Eleanora is "aconstruction of virtues" (p. 348 ), more closely allied to Aristotelian moderationthan to grace.~ 295. BICKFORD, SAMUEL S., JR. "A Note on Donne's 'The Apparition.'"CP 4, i: 13-14.Points out that much of the dramatic and rhetorical appeal of "T h eApparition" resides in the tension that results from the "disparity betweenthe extraordinary nature of the things being asserted by the speaker andthe quasi-rational manner in which he is speaking" (p, 13). Discusses th eimagery, diction, tone, and mood of the poem. Sees in it the possibility ofintended humor and even a touch of burlesque and thus argues that "theintent of the poem seems not as serious as what prima facie takes place init" (p. 14).~ 296. BOSTON, ROSEMARY. "The Variable Heart in Donne's Sermons."CSR 2: 36-41.Explores Donne's recurrent use of the metaphor or figure of the heart(based in large part on the language of the psalmists, prophets, and theChurch Fathers) in some of his early and later sermons in order to illuminate"the maturation of his prose in substance, style, and art" (p. 36)and to show that, in later life, Donne "achieved a felt conviction that

1\ Bibliography of Critici 111 1° 5'evenness' [of the heart and spiritual balance] need not be stasis, or requirean impos ibly rigid control over the heart' oblique declinations" (p. .p ).iugges that Donne move, "I> -ond emblem and into comp lex metaphor"and from "rigidity to flex ibility in rhetoric and substance" and cernsto reach "an emo tional physics which can tolerate tension :1I1d rre 0long a right orien t, tion is maintained ," an a hicvcmcnt that "re:ult. directlyfrom his acceptance of the fact that the heart i.. after all, ubicct toCod 's mercy and ,ornetirne worth , even of ou r own" (p. 41),~~ z97. CII A~IB En " I OUCLA ', '''1\ Speaking Picture': Some Way ofProceeding ill Literature ami the Fine Arts in the Late- ixtcenth andEarly- cvcntccnth Cen turies," in Encou/lters: Essays on Literatureand the Visual l\rts. edited by John Dixon Hunt, pp. 2 -;7, ewYork: W W orton C' 0 , ; I ondon : tudio Vista.Discusses the iconographical and typological mode of Elizabe than andearly seventeenth-centu ry portraiture, Coru m nts on the Lothian portraitof Donne (and reproduces it): "We cia not look simply for the biographicalDonne in his poems, and the Lothian portrait, suspended between wrywit and black gloom, i a \\ y of telling u why we mu t not" (p. 31).Comments on anne's love of "playing character roles for a moral purpose"(p, 31) both ill hi poetry and in his sermons and sees the portrait ofDonne in the deanery at St. Paul' and the effigy of him in his windinghect in the cathedral as proof of his continuing delight in the dramatic.~~ 298. CHAIIIDO , J 11 1'1. "John Donn e," in In God's I fame: Examplesof Preaching in England from tire Act of Supretnac to the Act ofUniformit y, J 534-1662, chosen and edited, with an introductionand annotation. , by John handos, pp. z.p--H. 270 - 74. 308- 10.Indianapolis and I cw York: The Bobb: - 1 lcrrill Co .ContrastsDonne with Lancelot Andrcwcs and disagrees with ' . S. Eliot'sC\, luation of Donne ', sermons. ays that, in the sermons, Don ne "invitesII to share in a ubjcctive adventure in transcendental experience" andthat "his spiritual transaction ' with Co d arc a rapturous as his venereal11 formerly were with women" (p. 241). Suggests two reasons for Donne'sue css in the pulpit: "first, he brought to his sermons a public personalityrravishing cI umn: and second, u London Jacobean congregation cameI church prepared to enjoy fl esh-creeping thrills and theatrical rhapsodiesa legitimate part of a preacher's dispensation" (pp. 242- 4' ). Reprints1 tion from Donn e's ermons (pp. 242-43, 270-74, 308- 10).:!99· DAJ IEL , ',DCAR F. "Donne's 'C rucifying: 8." Exp/3 0: Item 2;.i grces with Helen Gardn er' interpretation of line 8 of "Crucifying,"fth sonnet in La Corona ("Mea tiring sclfe-lifes infinity to 'a span" ).n If-lifeas hrist. the . ourcc and es ence of all life, and measuringII tmg or making commen urate. iuggests, therefore, that the line

Johl1 Donnemeans "equating the infinity of Chri t with the finitude of human life,which is figurat ively 'an inch...·~ 300. DATI'A, KITH . "Love ami A ceticism in Donne' Poetry: TheDivine Analogy:' The [adauput Journal of Comparative Literature9: 73-97·Reprinted in CritQ 19, no. 2 (1977): ;- 25.urveys Donne's attitude toward and expression of sexual love in hispoetry and argue that "under his varying experi ences of love. voluptuaryand marital, admiring and fli rtatious, ran his pursuit of Lady Virtue,"whom he saw "shadowed forth in strange, even paradoxical places" untilfinally he "turned hi amorousness rather fiercely upon Cod. as he hadlearnt from the atin Doctors to do" (p. 92). Maintains that in the Elegies,Satyres, Songs and Sonets, certain of the verse epistles, and the AnniversariesDonn e's attitude toward love and his expression of it arc informedby the ascetic norms and practice of the Platonists and the Latin f athers,especially St. Augustine, St. Ambrose, and St. Jerome. Points out howDon ne's reading of the Latin Fathers shaped hi own thinking on therelationship of love and chastity, marriage and virginity, eros and agape,and suggests that Donne', uses of erotic language to advocate a kind ofasceticism in love reflect his Augustinian roots.~ 9 30 1. DE SILVA, D. M. "John Donne-An Un-rnetaphysical Perspective."Ceylon [outnal in l-Iutnanities 2 : 3-14.Cha llenges T S. Eliot's criticism of Donne and argues that Donne "nomore possessed 'a mechanism of sensibility which could devour any kindof experience' than did Tenn yson or Browning" (p. 5). Comm ents on thelimits of Donne's sensibility, especially his insensitivity to "beauty of mostkinds" and "ugliness of all kinds"(p, ; ). Suggests. for instance. that "Showme deare Ch rist" contains a "very grave defect in poetic sensibility" andcalls the conceit of the poem "licentious" since it "makes of Christian faitha more than usually repulsive species of adultery with the Church in therole of a profligate wife and Christ as decadent wittol" (p, 6). finds nothingparticularly metaphysical about Donne's thought and maintains thathis poetry "is primarily emotional, springing from the basic emotionalneed ofself-expression, and addressing itself, unlike a mathematical or aphilosophical treatise. primarily to our emotions rather than to our intellect"(p. 7). Discusses the ratiocinative and argumentative clements inDonne 's poetry but warns that often "the formal argument is ancillary orsubsidiary to the emotion" (p, 9). lotes that his argume nts arc interesting"not because of their validit in logic but becau e of that emotional truththey erve to stress" (p. 10) and concludes, therefore, that Donne's dialecticalmanner "is only a manner and does not imply an intellectual qualityin his poetry" (p. 11) and that his ingenu ity and learned images arc merely"the brilliantly effee:tive instrumen ts of a very per uasive rhetoric" (p. 14).

V! 3D::!. D UBEL, \ LKI·.lt Tradierie Bau(ormen und l}'rische truktur.Die Veriinderun o elisabethanischer edicht chemata bei John Donne.( tudien zur Poetik lind Ceschi htc der Literatur. Band 14.) • tuttgart:Verlag W Kohlharnmer, 16 p.Offer a tructural analy i. of Donne ', poetry that attempts to view it inhe perspective of exi ting literary tradition and tresses that. althoughDonn e' poetry developed within inherited tradition. he carried them ina nev direction. Brien. recon true the literary .ituation in whi h Donne'lyric were composed and appraise' the . t ·Ii tic ideals that determinedboth the possibiliti and the limit of literary production arou nd 16 00.Points out the effects of contradictory tyli tic ideal on Donne' poetryand note that he often u cd nev principle of construction (multidimensionality)and new lructural form (timc frames, coincidentia oppositorum, value constellations). ugge ts that Donne's artistry lies, in part, inhis ability to manipulate conventional practices and to take them to theirpossible limits, Notes his talent in subjecting, even thernaticizing, existingtechniques to special semantic functions in individual poems, Concludes,therefore, that the actual innovations in Donne' lyricsare based on a fluidliterary ituation and that thi proccs of renewal i best seen in the lightof Donne' capacity to rn: nipulate and vary tandardized poetic tradition .!.-!!~ 303. 0 11 "''1', J H. '. "Hemingway, Plato, and The Hidden God."SHR5: 145-4 .Call ' I onne' influen e on Hemingway "a fa cinating and exten iveritical paradox" p. 14 . Argues that in For Whom the Bell Toll Hemingwaymao have had mor of Donne in mind than merely the D votionupon •mergeni Occa.ion and ugg that the novel "is rich with the hotion of cxuali and pirituality found throughout Donne' poem . . .a well a that special form of con alation for the lossof the bela ed whichi another of his major theme " (p. 147). [ isagrees with Clcanth Brooksill The Hidden God (1963) and argues that, "in view of the extended philosophicaldevelopm en t a fullcr reading of Donne makes po ibl , Jordanmu t he called much more than 'a naturali t in all the en es'" (p. 14 ).Brieflycomment on onne' eoplatonisrn and on hi view that piritualUl1IOIl of lovers transcends death. especially in "To the Lady Bedford: Youtluu nrc she" and "The Extasic." Maintuins that in Donne, "there is nodiscrepancy between the sensual world nne! the spiritual" and that. "likehe Christian mystics. he combined cxual and divine usage in a singlerarnrnar of life, an abiding metaphor of love" (p. 147)."04 . D ,'. " J If . John Donne: TI,eComplete English Poems, editd by . J. rnith. (Penguin Engli h Poets, gen. ed., C hri topherRicks. Harmond:worth, •ng.: Penguin, 6 9p.Tinted, with min r correction, in 1973; reprinted, 19 5, 19 6, 197nit d tat : cw York: t. I Iartin s Press. 197'+.

fohn DonneFirst printed in hardback. 19 4-Con tains a table of content (pp. 5-1a), a preface (pp. \3-\ s). a tableof Donne's dates (pp. 17- z 5), a selective bibliography (pp. 27-3 1). a noteon meter (pp. 33- 37), the English poems (pp. 39-349), explanatory noteson the poems (pp, '351- 667), an index of titles (pp. 669- 74), and an indexof first lines (pp, 673-79). Since the primary aim of this edition is "tomake an old and difficult author as intelligible as is now possible to readersof today" (p. 15), the spellings have been modernized, the punctuationslightly modified, and orne doubtful poems included. Follow no singlecopy text and present the poem in the Songsand Sonefs in alphabeticalorder. Records in the notes only variant reading that bear upon the senseof a line and keeps the notes primarily explanatory, not evaluative.~~ 305. . Love Poems o( fohn Donne, compiled by Martha L.Moffet. (Great Love Pocm s.) New York and Cleveland: T he WorldPublishing Go. xi, 11Ip.Contains a brief biographical sketch of Donne and brief comme nts onhis love poetry (pp. vii-xi). Considers "ingenious figures of speech andturn of wit, learned imagery, and fresh, original rhyme and rhythm" (p.vii) a Don ne' major characteristics. Claims that "the depth and intensityof Donne's feeling for Anne [More] are clear in the poems known to beaddres ed to her, such as 'Sweetest love. I do not goe'" (p. x) and callsDonne's love philosophy "at once realistic and poetic, based on his brilliantinsight into the love of man and woman" (p. x). Reprints (modemspellings) without notes or commentary forty-nine poems from the Songsand Soneis. Index of first lines (pp, 1° 9-11 ).~~ 306. . Poesie amorose. Poesia teologiche. Introduction andtranslations by Cristina Campo . (Collezione di poesia. 79.) Turin:.iulio Einaudi. 1 z3p.Reprinted: 1973 , 1977·Introduction (pp, 7- 16) presents a brief biographical ketch that tressesDonne' early Catholicism and discusses major characteristics of his pocIry,focusing on the tensions and polarities in both his life and verse andon his attempts to reconcile these opposites. Bibliographical note (pp. 17­19) and a biographical chronology (pp. 21- 22), followed by fourteen selectionsfrom the SOl1gSand Soneis, seven of the Uoly Sonnets, "/\ Hymneto Christ, at the Authors last going into Germany," "Hyrn nc to Cod 111)'God. in my sicknesse," and "T he Crosse" (pp. 28- 99). English and Italianon facing pages. Notes (pp. l03- i 7); index (pp. 121- Z3).~~ ~ 07 , F ISCHER. H ERM" , N, cd. Englische Barockgedichte: Englisch undDeutsch. Stuttgart: Philipp Reclarn Jun. +tOP,Ce neral introduction to English baroque poetry (pp. ;- 18); fourtecnselections from Donn e's secular and religious poems (pp. 24-53) withCorman prose translations; a brief biographical note on Donne (pp. 371-

A Bibliogra phy ofCriticisl1I72); notes on the individual poems anthologized (pp. 372- 75); and a selectedbibliography (pp. ..j.! 7- 28).~ 308. FISH, STA NLEY E.. ed. Sevenieenth-Centurv Prose: Modem Essaysin Criticism. ( Galaxy Book.) ew York: Oxford niversityPress. xi, 572P.Collection of previously published essays. several of which contain refercncesto Donne. Three items specificallyon Donne: (1 ) Dennis Qu inn ,"Donne's Christian Eloquence" (pp. 353-74) from ELH 27 (1960): 276 ­97; (2) William J. J. Roone , "John Donne's 'Second Prebend Sermon'­A Stylistic nalysis'' (pp. 375-87) from TSLL 4 ( 1962): 24- 34; and (3)Joan Webber, "Donne and Bunyan: The Style of Two Faiths" (pp. 489­532) from The Eloquent ill": Style and Self in Seventeenth-Century Prose(entry 59), pp. 15-5 2 •~ 309. Fox. RUTH A. "Donne 's Anniversaries and the Art of Living."ELH 38: 528- 41.Attempts to make clear "the extent to which the refinement of ElizabethDrury out of the nniversaries enables us to conclude where the poemsthemselves conclude, neither with Elizabeth Drurv nor

110 • [197I] /ohn Donne~ .. 312. GANG. TEA. "Donne:' in The Penguin Companion to EnglishLiterature, edited by David Daiches, pp. 152- 55. New York: Me raw­Hill Book Co.: Harrnond worth, Eng.: Penguin Books.Encyclopedic account of Donne's life, works. and reputation- a highlyselected bibliography.•-"'! 313· RONER. H ELEN... eventecnth -century Religious Poetry: ' inReligion and Literature, pp, ]71-94. New York: Oxford UniversityPres .urveys English religious vcr e of the eventeenth centu ry and attempts~o account for the fact that this period, perhaps more than any other, was~ro p i ti o us for religious poetry. Suggests three things that make seventeenthcenturyreligious poetry appeal to reader of various persua ions: (I) the"poems are made poems, not effusions of feeling" (p. 191); (1) the poetryis highly intellectual; "though full of feeling, emotion, strength of devolionand personal faith, [it] is laced by. built upon, a scheme of thought.and a un iverse of discourse that is not the poet's own invention. but hasthe toughness of systems that have been debated and argued over for centuries"(p. 19 3); and (3) the poetry reflects "the unem barrassed boldnessand naturalness with which these poet approach their subject. and thefreedom with which they bring the experiences 0 daily life, their experienceof art, their native powers of mind , their skill in argument and theirwit. to play over religiou doctrine. religious experience and religious irnpcratives'(p. 193). Maintain that Donne's influence on Herbert i notextensive and points out that "there are very few even possible borrowingsfrom Donn e in Herbert' poetry and none that are unque lienable" (p.173). Argues that the .eventecnth-century poets are linked primarily bytheir common religious tradition, such a that of discursive meditation.Praises Donn e's ability to develop his divine poems dramatically and seeshim as a "key witn . to the limitations that the writing of religious verselays upon the poet" p. 190), Argues that Donne' rcligiou poetry developedout of his moral poetry, not his love poetry. and that. although "wemiss in the Divine Poems thc clan of the Songs and Sonnets. their splendidhyperbole , the note of personal di covcry, the virtuo ity in the handlingof argument, and the brilliance in the invention and manipulationof stanza forms" (p. ]91), we fi nd in them an intensity and an expressionof the en e of hum an need that we do not find in the love poetry. Commentsbriefly on "A Hyrnnc to God the Father," which "docs not renderthe truth of a mom ent of pa sionate experience" but, with a sobriety thatis unusual for Donne, "sum. a lifc and has a painful honesty" p. 1l) 2 ).~~ 314. GEORGE, 1\[ RAPA I ~ A l C[IIEVAHGHESEj... -letaphvsicnl Poclr :' inStudies ill Poetry'. pp. 37-59. lew Delhi and London: Heinemann.Very general introduction to the nature of metaphysical poetry and to

A Bibliograph )' o{C riticism 1 I 1Donn e that relates both to the social and intellectual background of theseventeenth century. Survey most briefly Donne's life, personality, andmind and outline orne of the most major characteristics of his poetry.Presents short ana lyses of "The Indifferent:' "Th e good-morrow:' "LovesAlchyrnie,' 'T he Extasic," and "T he Canonization.""C~ 31;. COLDBERG. JONt\11it\N . "Donne's Journey East: A peets of aSeventeenth-Century Trope." SP 6 : 470-83.Discusses the theological. poetical, and typological traditions behindDonne's trope of the journey to the west that becomes a journey to theeast in "Coodfriday, 1613. Riding Westward." Shows that Donne's uses oftraditional tropes normally and liturgically associated with the Nativityand the Epiphany in a poem on the Crucifixion support and illustrate hisessential typological view of understanding historical events as weIl as man'splace in them. Explains the theological and typological significances ofthis subtle collocation of seemingly diverse tropes in the poem and arguesthat the whole poem is "built around the tensions occasioned between twojourneys: the outward physical journ ey west and the internal eastern journey"(p, 48 1). Suggests that the poem, therefore, shows that the self "becomesthe instrument for the perception of the eternal in the temporal,and self-fulfi llmen t resides in the internalization of Ch rist" (p. 483).~ 316. . "The nderstanding of Sickness in Donne's Devotions."RenQ 24: -° 7- 17.Recognizes the Devotions upon Emergent Occasions a a unique workof Donne's imagination but challenges those who view it as the productof a disturbed or idiosyncratic mind. Shows how. in fact, his "devotionalaims lead him to traditional themes and to a view of the self that tends todeny value to personal idiosyncracies" (p. 507). Discusses the variouscommonplaces drown from contemporary devotional literature that are atthe center of Donne's understanding of the ultimate. meaning of illness.hows that the Devotions, far from being idiosyncratic, reveals "the continuitiesbetween private experience and the human condition " (p. 517).Explains that in the Devotions, as in most devotional literature of thetime, sickness is seen as signifying sin and yet, at the same time, is seenas leading ultimately to salvation, for, "by punishing , Cod shows his election"and thus "ultimatel y sickness causes rejoicing because resurrectionIS implicit in the act of casting down" (I'. 512). Maintains that Donn edentifies his sickness with the continual hum an condition of sickness andIn and that by showing his transformation from sin-sickness to salvation-I alth he instructs his reader. Comments on the centrality of Christ toanne's vision of sickness and salvation: "Th e Ch ristocentricity of theexotions servesat once it double nature: the examination of the self andapplication of the commonp laces of the prayer book tradition as anme tool in thi process of self-scrutiny" (p. ;17).

o/m Donne~ 3 17 . C RANT. PATRI K. "Augustinian Spirituality and the Hal}' Sonnetsof Iohn [ onnc ." ELH 38: ;42- 6 1-ce the Hoi}' Sonnets as a -nthesis of traditiona l u rustinian spirituality(as transmitted primarily by t. Bernard and the medieval Franci ­cans, such as 1. Bonaventure. [acopone da odi, the Pseudo-Bonaventure,and others) and a "characteristically Latitudinarian desire to repudiate theharsh doctrinal derivation from Augustine, such as they were to be found.for example. amon g the Reformers" (p. 544). Discusses the hallmarks ofmedieval Augu tinian piety that Donne expresses in the Hal)' onnets:(1)affective piety that evokes through the enses specifi cally biblical scenes,(2) a focus on the cross a. a major devotional motif, (3) an emphasis oncontrition rather than on penance and attrition, (4) an emphasis on thefelix culpa concept of Christ's atoning through hi Incarnation. Passion,and C ross for Adam's sin. and (-) a tress on the last four things in meditationin order to move man to contrition. Maintains, however, that althoughthe Hal)'Sonnets may be seen a fundamentally Augustinian . thenrc also characterized by a religious sensibility that approaches that of theCambridge Platonists. Argue , therefore. that the poems reflect "the tensionof the young Renaissance latitude-man , attempting here to expresshimself in the mould of older model of devotion despite aspirations toachieve new" (p. 558). Points out that the "contorted and impassionedlogic, the witty paradox, the flawed spirituality and note of sensationalism"(p. 560) arc part of the appeal of the Hal)' Sonnets and concludesthat they "are fundamentally traditional poem. , and retain their identityas uch even though the mod es of devotion which they represent are, inthe ' ngland of Donne's time, hallcngcd' (p. ;61).~ 318. I 'IALI~Y , M AR11• . "Donne and the [e uits: A atirist Goes ThroughHi Pace ." Twentieth Century: An Australian Review 26: 124-34.Comments on Donn e's Catholic upbringing and connections and suggestthat both Pseudo- Aartyt and Ignatius his Conclave arc little morethan Lucianic tours de force, written by Donne primarily to strengthenhis position with [arne I, to assure the king that he wa opposed to theJesuits "as innovators, who had changed Catholicism from what it was inthe good old pre-Tridentine days" (p. 12

A Bibliograph y of Criticism 113~ 319. H AS EL, R. C HRIS, JR. "Donne's Ignatius His Conclave and theNew Astrono my." JvIP68: P9-37.C hallenges Charles Coffi n's view of Donne's attitudes toward th e newscience (John Donne and the New Philosophy, 1937) and discu sses howin fact. Ignatius his Conclave nut only co mpleme nts Donne's view of thenew science but also fits into his gene ral intellectual and artistic development.Shows that Donne lind both the Jesuits and the astronomer foolishand dan gerou s. Argues that, altho ugh Donn e confronts an d inspectsthe discoveries of the new astrono me r an d fully explores the philosophicalimpli cations of their findings. he fina lly "rejects the ir discoveries aspresumptuou s, confusing, and inessent ial after they have passed throughhis consciou sness" (p. 336). ees Ignatius, The first Anniversary, and Thesecond /vnniversarie "as three steps in the process of confronting, evaluating,and dism issin g consciousness" (p. 337) and concludes that "Donne'sso-called disillusionment is actua lly a tightly controI1ed yet courageou sfree venture into consciousness by a mind which will always emerge againfrom that venture to tran scend itself in unity" (p. 337).~ 320 . H EHAISIIA, H ODA. John Donne: The Man and His Poetry. Withan Anthology of Representative Poems. C airo: The Ang lo-EgyptianBookshop. 119p.Preface (p. -) suggests a close link between Donne's life and his poetryand maintains thai Donne's "inte llectua l and emo tional life formed suc ha marked pattern tha t his poetry can be divided into four distinct periodsthat coin cide with four distinct pha es of hi. life:' Section 1 of the introduction(pp. 7-30) briefly discus cs Donne' early life; his reaction againstPetrarchisrn : his im itations of vid and uses of the traditi on of the paradox.especially in the Elegies and in early love lyrics: and his place in thetradition of Renaissance atire. Section 2 (pp. 31- 4 5) surveys his ea rl}'religiou crises, his connec tion with importan t patrons, and his ma rriageand comments on Sat yre Ill. some of the verse epistles, and a numb er ofthe love poems that treat love with reveren ce and witty seriousness . Seclion3 (pp. 46--6) discusses the years im mediately after Donne's marriage,his occasion al pieces, and especia lly th c Anniversaries. Section 4(pp. 57- 67) comme nts on Donne's serious interest in religion and discussesL Corona, thc Hol)ISonnets, and the hym ns. Section 5 (PP. 68­7-\.) discusses the gene ral cha racteristics of Donne's style, especia lly hisuse of imagery, co nceits, language, prosody, and dramatic elements. Ananthology of selected poem s (PI" 77- 119), divided according to the diviionsestablished in the int roduction and based on the texts of Helenardncr, Wesley Milgate, and Frank lanl ey.~2J. HERNt\nI. ~vlIKL6 . "Me taphysical Bards and Modem Reviewers."Angol es Americai {ilologiai ianulmanyak [Studies in Englishand . mcrican Philology] I : 227-4J.mrnents on the rolc that the "ne w criticism" played in the modem

fohn Donnerevival of interest in metaph ysical poetry and suggests that Donn e and theother metaphysical poets provided a "convenient hunting-ground for the'nei critics' \ ho insist that the various ingredients of wit, so inhere nt inseventeenth-century English poetry, should be regarded as governingpropertie. of all poetry" (p. 231). otes that cveral of the 010 t influentialof the "new critic." were also practicing poets and ees a strong tic betweentheir evaluative criticism and the directions of much modern poetry. r­gucs that the rno t unfortunate aspect of the "new critici m" has been its"extension of a Metaphysical doctrine of poetry over other kinds of poetry,'an exten ion that "leads to the exclusion of all poctrie that do not 'toe theline' of that doc trine" (p. 236), such as the poetry of Milton and of theRomantics.'..-!!'" 322. HIRSH, JOH C. "I on ncs 'To His Mistris Going to Bed,' 35­3 ." T&Q n.s, 18: 286-87.Argu that Donn ' rever al of the exual roles and his simile in lines35-38 of "Going to Bed" may have been a conscious imitation of atullusand not, as man editors hav uggested, a blunder on Donn 's part. Furthersuggests that lines 5-6 of the elegy may al 0 have been inspired byCatullu and notes that the glosses in the 1521 Venetian edition of Catulluedited by A. C uarin us emphasize "preci ely tho c element which findexpression in Donn e's poem" but points out that there is no informationon whether or not Donne knew this edition.~~ 323. HOLTCEi'l . KARL J ·EF. " upub lishcd Early Verses 'On D!I onncs Anatomy,'" RE n. . 22: 302-6.Reproduces and comments on orne ver c in prai c of Donne that maycontain one of the few early references to The first nniverscry, writtenbetween 1635 and 1645 and found amo ng the papers of the r ham familyof Lamport, I ortham ptonshirc. Sugg ts that the verses arc important as"an example of contemporary Donne enthusiasm and for their intcre tingusc of conceits, especially anatomical ones" (p, 303). otes that the versesarc written in the hand of Elizabeth Isham (16°9-1654), daughter of SirJohn Isham and unm arried . ister of ir In.tinian I.ham, and sugge ts thatshe may be the author of the verses, Praises various parts of Donne's bodybrain.tongue, heart. hands and "all hi other parts" (line 17)--and COI11 ­mcnts on their literal and figurative functions.U'! '" 324. H U CIII~ , RI li ARD Eo" etaphysical Poetry as ' vcnt:' H L 3:19 1- 96.Argue for the development of a "rnythico-religio-p dies" so that thetwentieth-century reader might better understand and appreciate metaphysicalpoetry: "Writing in a time of anxiety amenable to myth; nurturedby a faith supportive of a sacramen tal respon e to reality; accepting thworld as a panorama of symbol-saturated events rather than neuter objects:the poets of the earlier seventeenth century were involved in poem.

A Bibliograph ofCriticismmyth and religious insight all at once" (p, 196). Mentions Donne severaltime by wa ' of illustration . Point out, for instance, that "The SunneRising" has as it central motif thc myth of acred time and note thatDonne's theology i Iundamcntallv incarnational with an cmphasi on thecentricity of Chris t.~~ 325, IWA MI, 0/1. Eibungaku no [shiki [T he Ethical and AestheticView in Engli h Literature], Tokyo: Kenkyin ha. xiii, 263P.Refers to Donne throughout. '111c major entry, "Love and Lonelinesin the World" (pp. 160- 77), contra ts the love poetry of Donne with thatof John Wain. 'Iranslatcs into [npanese "Song: Sweetest love, I do not goe"and calls it Donn e's easiest poem to understand. Presents brief criticalcomme nts on the poem and contrasts it with Wain 's "Anecdote at 2 A.to.'I."Suggests that Donne, in a Janus-like fa hion , looks back to the troubadoursand forward to the modern view of love. Maintains that Donn e'love poetry is a blend of thought and passion, whereas Wain's lacks passion.~~ 326. lo EPH, B( ' RTRA II L[w.']. Shake: peare» Eden: The Commonwealthor England, J 5~ - ,629. (Blandford History cries, gen. cd.R. W. Houri .) London: Blandford Press. 368p.Comments on seventeenth-cen tury reaction to the "new philosoph. "and sugges that much confusion has resulted from misreading Donne'famous line from The first Anllil'er ary "And new Philosophy call all indoubt, / '111e ' Iemcnt of fire i quite put out"). rgues that Donne wasnotexpressing"consternation at the disappearance of old certainties crumblinginto chaos: his consternation was at human pride, his own in particular"(p, 2-1-). uggcs that likewise, in Ignatius his Conclave, Donne docsnot denounce the "new philosophy" but rather "denies that Copernicus11';1 rc ponsible or men coming to believe that there is no hell, or to denythe punishment of sin" (p. 25). Briefly comments also on Donn e's obscurity ill verseand suggests that lh ' difficulty experienced by modern readersoften comes [rom their "ignorance of the urfacc sense of Elizabethanword . and in half-ignorance or confusion over Elizabethan idea" (p.~ ) . Questions whether one can say with any certainty that Donne imitedcolloquial rhythms of speech in his poetry: "Guesses may he madebout the colloquial rhythms of the sixteenth and seventeenth ccnturich may be dignified in academic jargon as 'conjectures'), but little is1~11 for certain about the rhothms of daily peech in those times" (p.l(,\W,\ '\KI. To HIIIIK . "Donne's j licrocosrn ," in eventeellthenturyllllCl cry: E ay 011 ses o{ figurative Language {rom DonneFarquhar, edited by Earl Miner, pp. 25--1-3. Berkeley, as Angc­. London: niver ity of alifornia Pre .es Donne' 1I c of mi rocosmic figure. to how that "his micro-

John Donnecosm and macrocosm not only correspond to each other as two entitiesand symbolically reflect each other, but also that they represent a definitesystem of relative values: the smaller world is more valuable than the larger"(pp. 26-27). Points out tha t Donne's microcosmic figures are structura llymultilevel, "a great chain of being whose links extend methodically fromthe largest to the smallest" (p. 27), and that in his microcosmic imageryDonne is "acutely conscious of the transference of identity by each link inthe chain" (p. 29). Comments on Donne's obsession with the metaphysicsof the un ity of lovers in his love poetry, suggests that in these poems "thelovers' preoccupation with small things, with the microcosmic concep l,and with the unity of the two arc inseparable parts of the whole" (p. 33),and maintain that such figures represent a serious philo.ophical attitudeon Donne's part and are "more than a conceited exaggeration of a eoplatoniccliche" (p. 3; ). Discusses the microcosmic imagery in such poemsas "T he good-morrow;" "The Sunn e Rising," "A Valediction: of weeping,""The Canonization," and "The Flea." Points out. however, that "there arctwo Donnes in Donne's religious writing: the one microcosmic, the otherrnacrocosrnic" (p, 42 ): "The former seems to represent the man who withdrawsinto his private chamber in order to contemplate his dissolution intothe Godhead; the latter is he who steps forth and tries to save the congregationin the Church" (p. ,p). Shows that, as in hi ecular poetry, themicrocosmic imagery in the religious poetry "served as a proper vehiclefor expressing hi fervent beliefs" (p. 43).~ 328. KEAsr. WILLIMI R.. ed. Seventeenth Century English Poet ry:Modern Essays in Criticism. Rev, ed. ( Galaxy Book. 89. ) London.Oxford, l ew York: Oxford niversity Press. x, 4

A Bibliography of CriticismThe Poetry of Meditation: A Study in English Religious Literature of theSeventeenth Century (New Haven: Yale University Press; London: OxfordUniversity Press, 1954), pp. 211-48.~ 329. KERMODE, FRANK. "Joh n Donne," in Shakespeare, Spenser,Donne: Renaissance Essays, pp . 116-48. New York: The VikingPress.Reprinted as Renaissance Essays: Shakespeare, Spenser, Donne (Lon ­do n: Fontana, 1973).Reprint of John Donne, which first appeared in the Writers and TheirWorks , no. 86 (London: Longmans, Green and Co., 1957), 48P.~ 330. KISHIMOTO, YOSHITAKA. "Donne no Holy Sonnets" [Donne'sHoly Sonnets]. Kiyo (Bungakubu, Baika Joshi Daigaku) no . 8 (December):1-14.Explores the uniqueness of the Holy Sonnets, especially Donne's usesof biblical language in them. Points out that Donne typically employsbiblical language to achieve highly emotional and paradoxical effects, especiallyby using biblical language in very realistic contexts.~ 331. KREPS, BARBARA 1. "The Serpent and Christian Parado x inDonne's 'First Anniversary." RLMC n.s. 24: 198-2° 7.Argues that in The first Anniversary Donne's double purposes of prai s­ing a specific person and of anatomizing the corruption of a fallen worldare united in his treatment of Elizabeth Drury, who is seen both as thehuman embodiment of perfection and as the very principle of Perfectionitself: "Thus in her latter identity she is cause, where in the former shepartakes of the effect" (p. 199). Points out that the image of the serpentreflects the dual directions of the poem and, in fact, becomes "a symbolwhich unites in itself the divergent concepts lying at the heart of 'TheFirst Anniversary" (p, 199). Surveys the complex and often paradoxicaluses of the serpent in the unnatural natural history of the Renaissance andin the Old and New Testaments and concludes that in the poem th e serpentis a figure both of Elizabeth and of Christ and that, by assoc iatingthe two, Donne suggests that "as in studying Christ, so in stud ying thefigure of the ideal Elizabeth can one learn to live well by learning properlyto value the life of this world and that of the next" (p. 207). Argues that,although the serpent image is not pervasive in the poem, "the weight oftradition behind the figure gives it the power when it does appear to suggestthe poem's most central concerns" (p. 207).~ 332. KUSUNOSE, TOSHIHIKO. "John Donne-Henreki to Fukkatsu"[john Donne-Wandering and Resurrection] in Shi to Shin-Donneo Meguru Shijin tachi [Poetry and Faith-Poets around Donne],pp. 1-75. Kyoto: Keibunsha.Maintains that Donne was deeply introspective and that certain of his

John Donnepoems are self-reflective meditations, suc h as The second Ann iversarie, inwhich the real subject is Don ne, not Elizabeth Drury. Discu sses Don ne'snotion of th e unity of body and soul and suggests that his poem s thatpursue thi s th eme displa y a high level of intellectual and moral sensitiv ity.Notes that the serm ons reveal much about his spiritual explorations andhis atte mpts to come to terms with his inner tensions and contradictionsand notes tha t they therefore often employ images taken from navigation.Suggests that Donne is a moralistic theolog ian , but not a logical dogmatist.Notes that Donne's sense of spiritua l exploration and self-analysis ledhim to be preoccupied with death bu t tha t he regarded death not as anen d but as th e m oment of resurrection .~ 333. LANDER, CLARA. "A Dang erous Sickness Which Turned to aSpotted Fever." SEL 11: 89- 108.Suggests that Donne's Devotions upon Emergent Occasions, while essentiallydevotional in nature and not merely the record of a private experience,m irrors in language and structure the pathogenesis of the typh usthat afflicted Donne in 1623-1624 . Examines the devotional, psych ological,and clinical pattern s of th e Devotions to show how all thr ee combineand are part of the wh ole . Suggests furthe r that eac h of the three partsreflects different stages in the disease an d maintains that the th ree parts ofeac h meditation-the M editation, Expostulation, and Prayer- correspondnot only to the mo rning, afternoon , and evening services of theBook of C ommon Prayer but also to "the morn ing, afternoon, and eveningentries on a me dical case chart" (p. 94). Points out that the symptomsof typh us (deep melancholia, a tend en cy toward suicide, and so on ) parallelmany of the major psychological and metaphysical concerns of theage. Maintains that "like the Old Mystery, Miracle , and Morality Plays,intend ed to instruct but also to entertain, Devotions is part mummery,part declamation" and that "clinical realities are used to thread the narrative,lending immediacy and authe nticity to the whole" (p. 103).~ 334. LEc o urs, PIERRE. "Some Rem arks on Seven teenth-Centu ryImagery: Defin ition s and Ca veats," in Seventeenth-Century Imagery:Essays on Uses of Figurative Language (rom Donne to Farquhar,edited by Earl Miner, pp. 187-97. Berkeley, Los Angeles,London: University of California Press.Reprinted in Aspects du XVllc Siecle (Paris: Librairie Marcel Didier,1973), pp. 22;-33·Comments briefly on the confusion and ambiguous use of critical terms,such as imagery metaphor, allegory, ana logy, type, emblem, symbol, myth.ambiguity, puns, iron y, and dramatic irony: "T he mod ern tend ency hasbeen . . . to extend the meani ng of critical terms beyond recogn ition " (p.189). Mentions briefly his early study of Donne's imagery and commentson his study Donne the Craftsman (1928), which "at least made a stir(mostly protests)" (p, 187).

A Bibliograph y o{Criticism~ 335. LEVINE, GEORGE R. "Satiric Intent and Baroque Design inDonne's 'Go and Catch a Falling Star." NS 20: 384-87.Explicates "Song: Goe, and catche a falling starre" as "a piece of baroqueart" in which the major complications "consist of a series of closelylinked antitheses and a series of related progre ssion s-chronological, spatial,and rhetorical," all of which "are, in turn, themselves reflections of acentral, controlling antithesis" (p. 385). Comments on th e controllingelements of the poem, on the antitheses of tim e and space in it, and onthe various progressions in its argument and suggests that the cynical speakernot only attempts to teach his friend about feminine infidelity but alsotries to strengthen his own doubts about woman's unfaithfulness.~ 336. LEWALSKI , BARBARA K. "Donne's Poetry of Compliment: TheSpeaker's Stance and the Topoi of Praise," in Seventeenth-CenturyImagery: Essays on Uses o{Figurative Language {rom Donne to Farquhar,edited by Earl Miner, pp. 45-67. Berkeley, Los Angel es,London: University of California Press.Suggests that "if we set aside Donne's anniversary poem s, which arealtogether more complex in conception and treatment, the epithalamia,which are concerned to celebrate the occa sion of a marriage rather thanan individual, and those verse letters that offer advice on moral conductor poetry in the forthright tones of manly friendship, Donne's remainingpoems of compliment-almost all of them written in the period 1605­1614--

ohl1 Donne• ~ 337. LISB!'.., II, T EIlRENCE L. "Donne' 'Hymne to od my od, in111 ' ·ieknesse.''' Expl 29: Item 66.Discusse "several a ' ociative ideas concerning explorations. rcligioubeliefs, and concepts of man as a microcosm" in Donne's highly wittyconceit of the mappa mundi in " Hy rnnc to Cod my ad, in 111 )' icknessc,'spec ifically his uses of the phrase. South-west discoverie and Per[retum (cbris and of the word stteiguts.338, ~v ICCr\NLES, I IICH E\. . "i\ lytho and Dianoia: A Dial cticallcthodology of Literary Fo rm,' in Literary Jv fo nographs, vol, 4.edited by 'ric Rothstein. pp. - . Madi on, Milwaukee, and London:The nivcrsity of Wiscon in Press.rgucs that "plot, con idcred in the Aristotelian manner as the ultimateprincipl of coherent form to whi h other parts of a literary mime is aresubordinated as to their final ca use, is gene rated out of the attempt on thepart of Ihe agent of the plot to avoid and deny plot" and that "the logicwhich controls thi generation of plot out of a 'refusal' of plot isa dialectic.the forms of which are thcmsclvc various corollaries to the principle ofnoncontradiction" (p. '3), nalyzes the dialectical plot in a number ofI anne's poems and comments on thc dialectical interaction ' that I anne. cl up between hi reader and his per.ona' argument. I lot -that in 'TheFlea," for instance. the persona is hown to push "a ingle line of argumentationto uch a narrow extreme that the reader i invited to rever cthis direction with a implc negation" (p. 34) and that likewise in "Lover.infinitcncs e" the reader is "called upon 10 make continual adjustmcuts ashe looks through (i.e.. b. mean of) the poem at what the poem i~ referringto, grasping this reality jusl as the poem itself doc , by a constantrealignment of individual statements in relation to one another" (p. 35).'ate that in "Annunciation" (from La Corona) onnc invite the reader"10 tran cend di cursive thought and to wonder at the my tcry of the Inarnation"by rendering the my tery overt] . "in language which communicateprcci ely its incommuni ability" (p, 36).~~ 339. l."IACD NALD, ROBEIrt' H. The Library' o{ Drummond o{ 11011"thomden, edited with :111 introduction by Robert II. Ma J) nald.Edinburgh: Edinburgh University Press; Chi cago: Aldinc Publishing0, xii, 2451'.Brien , comments in the inlr ductio n on William Drumm ond of Hawthomdcuscritical appraisal of I onnc' po 'lry: "He could appreciate I onne,hut not imitate him; he had an instinctive distrust of the way I onnc brokethe good rules of prosody" (p, :!6l. List Dorine boo· ntrie ;'3, - -41and manu cripts (entries 1346, 1H7) found in Drummond' lihrarv'.-o!" H O. M II I Y. P[ATRICK J]. ". he' and 'Shee ' in anne' IIl1i\" T'sarics." AN&Q 9: 1 1 - 19.Prcscnb additional arguments to refute Marjorie Nicolson's theory ill

A Bibliography of Criticism 121The Breaking of the Circle (1950; rev. ed ., 1960) that Donne used she inthe Anniversaries to refer to a real person and shee to refer to "the Idea ofa Woman." Agrees with Joan Bennett (MLR 47 [1952]: 390-92) and SirHerbert Grierson (RES 3 [1952]: 178-80), who note that the double e wasused simply for emphasis, especially at the ends of lines .~ 341. l\/IANN, LINDSAY A. "Aquinas in Donne's Sermon Preached atPaul's Cross, 24 March 1616117." N&Q n.s. 18: 287.Notes that Donne's idea of love as a transforming power that appears inhis early sermon on Proverbs 22:11 echoes the specific words and ideas ofSt. Thomas Aquinas found in his commentary on Peter Lombard's Sentences.Points out, however, that although Donne relies on Aquinas's definitionof love, he merely "uses the definition to support his own highevaluation of love," since he goes beyond the expository purpose of Aquinasand, through his diction and metaphors, gives "to a traditional conceptionrenewed and emotional force."~ 342. . "The Marriage Analogue of Letter and Spirit in Donne'sDevotional Prose." JEGP 70: 607-16.Notes that for Donne, as for most seventeenth-century Christians, marriagewas seen as a type or symbol of numerous kinds of relationshipsbetweenGod and man, Christ and the Church, God and the individual,reason and faith, the prince and his people, and so on-and was also seenas contributing to and partaking in these relationships. Discusses in particularDonne's view of the relationship between the letter (the literary history)and the spirit (the spiritual significance) in Scripture and shows howhis "conception of marriage as a union of mutual dependence and subordinationseems to be reproduced in his vision of a dose relation betweenletter and spirit in Scripture" (p, 610). Examines Donne's exegetical techniquesto show that for him "the spiritual and the literal are married, but,in conformity with the Antiochene School of Chrysostom and the bestMeelieval exposition (Hugh of St. Victor, Aquinas), Donne stresses moreheavily than usual in Medieval practice the absolute primacy of the literalleveI"-a distinctly Reformation emphasis that parallels "his insistence onthe dignity of the human boely and of marriage-though both in exegesisand in men's relations he is not content to rest merely with thc body, withthe natural" (p. 614). Discusses Dorine's application of biblical texts andexegesis to human marriage, especially in his famous marriage sermonbased on Hosea 2: 19, to show that "the relation between the letter andspirit in Scripture, in which the letter is of fundamental importance forconstituting spiritual meaning, but in which the spiritual meaning is moreexalted, parallels the relationship between human marriage and spiritualmarriage to Christ" (p. 616).~ 343. MARINELLI, PETER V Pastoral. (The Critical Ieliom, no. 15,gen . eel., John D. [urnp.) London: Methuen & Co. vi, 90P.

John DonneRelates "The Baile" to the pastoral tradition and shows how Donne"trun fers the setting from a pa.toral to a pi catorial etting" (p, 29 ), otesthat, unlike the u e of fishermen and cashore settings in Theocritus andSannazzaro, Donn e's setting "is made with cun ning and malice" (p, 29 ).14~ 344. [Mi\ XWELL, J, C., I\ NO '. C . • TANLEY], editors of f&Q. Repliesto "I wo Hitherto nrccorded Imitation. of Donne in the Eighteenthcntury' &Q n.s. 18: 346.The editors append to their addition to Briirai Sin h' "Two:HithertoUnrecorded Imitations of Donne in the Eighteenth Century" (entry 370),a further item," n Chloe' Picture," an expansion of Donne's epigram,"Phryne." that appeared in The Univetsa! S/Jectator (I December IT 3).ce also Peter A. Tasch (entr I 3 5).14~ 34 5. N h~ , DEL. Sm . EY. "Dis ociation of Sensibility." DR ; I; 2 1 -2 .Discusses in a very broad s .nse the dis ociation of sen ibility in modernman-e-the tendency to enga c in abstract thinking and thereby dissociatethought from the . nses and from feelings-and concludes that "the mildform of dis celation of cnsibility that Eliot di cerns in Tennyson andBrowning leads ultimately to that crisis of self-identity which threat nmodem man" (p. 227). Brief outlines Eliot's theory and mentions Donneh way of illII tration.14~ 346. MILE . JOSEPHINE. "Iwentieth-Ccntury Donne," in Twentieth­Century Literature in Retrospect, edited by Reuben A. Brower, PI"20 5-:q. (Harvard English Studies, 2. ) Cambridge. Mass.: HarvardUnivcr it)' Press.Reprinted in Poetry and Change: DOri ne, Milton, Wordsworth. and theEquilibrium of the Present (Berkeley, Los Angeles. London: niversity ofCalifornia Press. 1974), pp. l.n- 6+Discusses major characteristics of Donne's poetry, e pecially the c .entialelernen of his language and attitudes and "the simplicity and extremityof his conceptual construc tion": "A characteri tic poem b · Donne proposesan exec. . h . superlative or imperative. then negate the excess" (I'205). Suggests that his poetry i. "the poetry of efforlful articulation ofthought: it i pclling out of problem ', analyzing of motives and situatiuns,a Icarned exploring of extremes of the plane of existence now andhereafter. of the cosmo b low and above" (p. 22 1). Argues that in fundnmcntalways Donne differs from the other rnctaphy ical pacts and frolllmodern poet who claim 10 be influenced by him: "far more verbs ndconnectives than for anybody else, far less concretion than for most others,a far morc persistent pattern of poetic con truction' (p. :!06). IIW B. Yeats "our greatest modern rnctaphy.ical poet" (p. z t 0 ) and COIH·pares and ontrasts him with Donne. Di cu. es the nature and extentDonne'sinfluence on certain twcntieth-century pod s. especially 1: . Eliot.

A Bibliographr of CriticismW H. Audcn, E. ". urnrnings, Robinson Jeffers, Wallace tevens, andRobert Penn \\ '

}ohl1 Donn e~ ~ 350. i\IL ER, Et\lu.. The Cavalier Mode [tom }0 I1S0 11 to COltOIl .Princeton: Prin eton Jniversity Press. xiv, 33W.Attempts "to discriminate Cavalier poetry from other seventeenth-centuryalternatives. and to discrimina te the major features within it" a well a"to de cribe can cption of the .elf, of life, and the world held b. pacts inthe late sixteenth and seventeenth centuries, conceptions which one group.the Cavaliers, tcndcd to cl forth in terms of certain styles, certain recurringsub] ts, certain recurri ng approache , and certain cultural as mrnptions"(p. ii). Mentions Donne throughout, primarily contrasting the privatemode of hi poetry with the social mode of such poet a. Jon on,Cow ley, Carew. Waller, and Suckling. Argues that "Donne's policy of exploring\ ithin the private world for what may belong to larger worlds wasnot followed b Jonson and hi ' ons,' but "they explored the social worldin order to discover their own inner resources" (p. 155). Sees Donne asPctrnrchau or anli-Pctrnrchan but argues that "Cavalier poetry was, so 10speak, prc-Petrurchan in its major emphasis" (p. 11 8) and suggests that,"whereas onne took and refashioned the conceited aspects of Pctrurchanism,Jonson and the Cavaliers refashioned and revitalized the psychologicalconventions of Pctrarchanism" (p. 225). Briefl y comments 011"Since you mil t goe. and I must bid farewell," a pocm variously attributedto both Donne and Jonson (pp. 244-45).~.. 351. i\hNER. I ~A IU. , cd. Seven teenth-Century ImageT)'; E · a os on Us,o{ Figurative Language (rom Donne to Farquhar. Berkeley Los Angeles.London: niver it)' of California Press. xxi, 20 Zp.ontain eleven original c say', three of which discu . Donne. ~ a c hhas been enter d eparatcly in thi bibliography: ( I) ' )0 hihiko Kawa aki,"Donne' Mi rocosm" (entry 327), pp. 25- 43; (2) Barbara K. L \\.1 kr,"Donne' Poetry of omp liment: The peakers tance and the Tupoi ofPraise" (entry 336), pp. 45- 67; and (3) Pierre Lcgouis, "Some Remarkson cventccntli-Ceutury Imagery: Definitions and Caveats" (entry ~ 4),PI'· I 7-97)·~') 352. MOOHIIEM, Sisncn JOAN. "Two Exp lications-John Donne's HoI}'Sonncl i IV and Cerard Ilanley Hopkins' Sonnet 69." J1lSight ( otreDame Joshi Daigaku, Kyoto) no. 3 (May): 62-71.ornparcs and contrasts the poetry and spiritual temperaments of Donneand Hopkin through explications of "Batter my heart" and Il opkin 'ssonnet69, both poem of rpiritual conflict and angui h. Discu s . the metaphoricstructure of Donne' sonnet, its form, imagery, use of paradox,logic, and rhythm. hov that Donne and Hopkins expr s similar themin their sonnets, hare certain techniques, and create effec tive rhythm ' toconvey human uffe ring et conclude that e sentially they arc different:"Donne's development is di cur ive: Hopkins', contemplati e" (p. 0).

t\ Bibliograph )'of Criticism 1 -,~ ­~ 353. I I UELLER. J I gL M.; ed. Donne's Prebend Sermons. Edited.with an introduction and commen tary by Janel ~v1. Mucller, Cambridge,j las .: Harvard Jniversity Pre s. xi, 361P.Preface (pp. vii-xi ) argues that the Prebend errnons should be con ideredtogether becau c "as a unit the)' rank high among Donne' be t andmo t repre cntative produ tion." and al 0 becau e the five crmons have"the advantage of wholeness" (p. x), Announce that this edition providesa more detailed and extern iv introduction and commentary on the fiveermons than Potter and impson provided: the correction of cveral rninortextual errors of the Potter am) Simpson text; and extensive examin a­tion of [ onne' theory and practice of preaching, especially his notionon the usc of Scripture in crrnons; and a detailed study of Donne' referenceto the Fathers of the hurch, the cholastics, and other ommcn ­tator. and writers mentioned in the Prebend ermons. Introduction (pp.1- 70) presents the biographical and historical contexts of the Prebend Sermons(mid-1624 to l1l id-1 627); comments 011 I anne's views on preachingand on Scripture and discusses the influence of the Fathers, especially St.Augustine, and of til . Scholastics, especially 51. Th omas quinas, onDonne's notion of scriptural di course and of the sermon patterned onthese ources: give all introduction to and brief analysi of each of thehvc crrnons: and explain textual deviation from Potter and. imp on.Reproduces the five Prebend ermon (pp, 72-179). followed by a detailedcommen tary a listing of sources. and note. for each of the . crmons(pp. I 3-327). ppendix 1\, "The Date of the Fifth Prebend icrruon"(PI'. r 1- 3 ), argiles b ' mean of topical allu ions and textual parallelthat the sermon was delivered in I lay or [nne 1627. Appendix B, "Iableof ngli h and Latin Citation of icripturc in the Prebend errnons" (pp.~ - -4), attempts to .how onnc's "energetic and eclectic 11 e of mo.t ofthe English and Latin version. available and. above all, to document veryaphically the material role of Cod' Word among the words of Donnethe preacher" (p. 33 ). Inde "'G ~ 3-4. AGOYA, Y su mxo , "Donne no hi no Engeiki-teki cikaku"'he Dramatic I aturc of Donne's Poems]. Kiyo (Gcngo/Bungaku)(Caikokugogakubu, Achi Kcnritsu Daigaku) 6 (December): 85- 109.Discusses Donne's interest in the theater and suggests its influence onhis highly dramatic poems, Explores in particular the dramatic settings ofat)'re 11 , Satyre IV , "T his is my playcs last scene," "The Perfume," "T hel r arne," "T he Apparition," "The Exta ie." 'T he good-morrow," andodfriday, 1613. Riding We h :HCI.", . AKAlIIURA. IINEK , "1\ Ring Without the Stone: 1\ Study ofBaroque Quality in The First Anniversary (I)." Insight (Notre DameJoshi Daigaku, Kyoto) no. 3 ( lay): 7:1.-96.lin t part of a two-pari article; see also entry 477. Comments on the

John Donnepuzzlement and dissatisfaction that many readers of The first Anniversaryhave felt since the time of Ben Jon 'on and argues that it i a more difficultpoem to understand than i The second Anniversarie. Di cusses The firstAnniversary in terms of a specialized definition of the baroque and calls it"a poem that gives a picture of the world like that of a ring that lost itsjewel" (p. 76), Elizabeth Drury being the jewel and the world being therin g.~~ 356 . ORGEL, STEI'HE . "Affecting the Metaphy ics," in Twentieth­Century Literature in Retto peci, edited by Reuben A. Brower. pp.225- 4 5. (Harvard Engli. h Studie , 2. Cambridge. -lass.: HarvardUniversity Press.Point out that the label metaphysical i largely the creation of critics,not of the poets themscl cs: yet "from the time 'metaphysical' was firstformulated as a critical term its definition has remained relatively constant,but the list of poets whom critics regarded as metaphysical has variedwildly from generation to generation" (p. 226). Presents a brief historyof the term and consider how a seventeenth-century reader wouldhave regarded Donn e's poetry. Points out, for instance, that "by Elizabethanitandards Donne has most of the traditional virtues" and that he is"le s an innovator than Sidne y" (p. 230): "The things that have been mosttartling to readers since the eighteenth centu ry-the far-fetched comparison. the ynthesis of disparate materials-c-are in fact the least new" (p,2, I). Argues that what is truly new in Donne is "the intelligence, the.cnsitivity, the extraordinary command of language and emotive detail:what is new, in filet, is what is new about every great poet" (p. 23 1). Showsthat "no theory of metaphysical poetry has proved adequate" because"' metaphysical' refers really not to poetry, but to our cn ibilities in reponseto it" (p. 24 5). Discus e in particular Renai. ance concepts ofpoetic images, especially em blems, stressi ng that even in emblem booksthe verbal element is basic: "Renal ance poet tended to think of imagesas trop or rhetorical fi gure '. that is, as verbal structures" (p. 2.3 ). Concludes,"What we find as criti s in works of art is largely determined bywhat we are looking for, and it i one of the functions of criticism to makeus look again and again at works of art in ways that are valid but untried,"but warns that "we must beware of taking our responses for historical data"(p. 24;).~~ 357. PARTRIDGE, A. . "Donne," in The Language o{ RenaissancePoetry: Spenser. Shakespeare, Donne, Milton. pp. 231-60. (TheLanguage Library, edited by Eric Partridge and Simeon Potter.l London:Andre Deutsch.Discusses the general charactcri tics of Donne's poetic theme and styleand contrasts hi poetry to that of Spenser and Shakespeare. Presents detailedstylistic analyses of "To Sir Henry Walton: Sir, more then kisses"(lines 1- 8, 47-58, 63-70). "The I rcarne" (from the E leg ie.~ ), "The Dreame"

A Bibliography o(Criticism(from the Songs and oners), "Twicknarn garden," "The Litanie" (stanzasI. Ill, VI, VIf), r ) , and" Hyrnne to Ch rist, at the Author. last goinginto Cormany " ugge ts that the main ingredients of Donne's style arc"paradox, conceits. yntacti al fragmentation. and metrical originality,ometimes so daring that the pattern is in danger of anni hilation" (pp.25 - 59) and that his origi nality "lie largely in his introspective and analyticalpower," by which his p icms become "logical patterns of association"(p. 259). tre e that Donne's style i "the antithesi of penser'expansive method" (p. 2 -9) and that his language, unlike Spenser's. "expandthe speculative imagination" (p. 260).~ 358. Pin s, Auruua W . JR. "Donne" Holy Sonnets I." Expl 29 :Item 39.Argues that the face mentioned in line 7 of "T his is my playes lastscene " is not the Iacc of God at Judgment Duy, as most editors have suggested,but is rather the face of Satan. Points out that seeing the face asbelonging either to ,od or to death "weakens thc otherwise tight paralleltructure and unit ," of the onnct. For replies. see Edgar F. Daniels (entry40" ) and J. I lax Patrick (entry 4 2).!A9359. POWERS, l ORIS C. English Forma l Satire: Elizabethan to Augustan.(De Proprietatibus Litterarum , edited by C. H. van Shooneveld,Series Practice. 19.) The Hague and Pari : Mouton. 214p.Argues that eighteenth-century fonnal atire directly descended fromElizabethan atire. utlines major features of early Engli h formal satireand haws that there is a continuou history of the genre throughout thecventeen th cnturv that can b •des ribed "in ter ms of an ear lv-e tablishedt of basic formai clements from which each writer in turn made hilection and which he handled in accordance with the gradually hiftingrnpha e of his times" (p. ). omments throughout in some detail onDonne'. satirical techn iques in his fi ve satires, commenting on sueh fcaluresas his uses of per onae, colloquial diction and speech rhythms, setting,v itty and h pcrbolic language. and farce. Contrasts the rhetoricaltrategies of Donne's atyres 11, 111 , and V (pp. 177- 83). Compares andontrasts Donne throughont with Wyatt, Lodge, Marston, Cuilpin , Hall,liddleton, and Marvell.• ?,(lO. RI NG. TE l'lIEN D., S.). "Donne' 'LovesGrowth,' 25- 2.8." Expl29: Itern s .l OWS how Donne in the last four lines of "Loves growth" "present! hisa paradoxical: spring adds new heat to it. but Il O winter comes alongirn 10 chill it," and argues that the paradox "owes its success to Donnes'spring' in a literal a well as a figura tive sense." uggests that hehi love to pring "both a a ymbol of warmth and a a fourth partrlv rei "and thu "de Tribes hi love' irreversible growth in the

John Donneparadoxical terms of spring never giving way to winter." For a reply, seeAlan Blankenship (entry 533).~ 361. RocKElT, WILLIAM . "D onne's Libertine Rhetoric." ES 52: 507­18.Discusses the dialectical strategy of the libertine personae that Donnecreates in his early poems, especially in the Elegies, and shows how "thedramatic quality of several of the libertine poems is actually inseparablefrom their rhetorical quality" (p, 508). Points out that Donne often "speaksthrough the mask of stock characters-the naturalistic libertine, for example,the miles amoris, the praecepior amoris, or the exclusus amatorandthe purpose of his rhetoric, on one level, is to make his charactersseem convincing, or to breathe life into old forms " (pp. 508-9). Discusseshow Donne uses the traditional figures of rhetoric, such as aetiologia, concessio,paromologia, and exbeditio, to create a narrative mask for his personaeand shows how these etiological and dialectical figures are used "toreenforce the pretentiousness of the speaking voice by creating the impressionof authority-making the libertine narrator not only a dialecticianbut a kind of imperious magister as well-and thereby implicitlythreatening the opposing point of view with such eventualities as unorthodoxy,immorality, or perhaps even heresy" (p. 517). Points out that the factthat Donne "deliberately intended the libertine persona to be at once dramaticand dialectical is demonstrated . .. in the frequency of the figureswhich argue and the relative infrequency of those which, for lack of abetter word , adorn" (p. 517). Says that "The Bracelet" is, among the libertinepoems, "one of the most accomplished in its uses of rhetoric" (p,514) and presents a detailed analysis of it to show that the dramatic andrhetorical structures "fuse and become indistinguishable as Donne buildsa persona whose identity resides in the manner rather than the substanceof his argument" (p. 517).~ 362. ROSTON, MURRAY. "John Donne and Mannerist Art," in UniversityTeachers of English Proceedings of the Conference Held at theUniversity of Negev, Beer-Sheva, March 1971, edited by Ruth Nevo,pp . 1-21. Beersheba: University of Negev.Defines and defends mannerist art and contrasts it with the baroque andRenaissance. Points out certain manneristic features in Donne's poetryand argues that the reader gains a new perspective on his poetry by viewingit in the light of Counter-Renaissance mannerist art. otes Donne's"transmutation of the physical world, whereby the material only gains itsvalidity as the larger spiritual implications are grasped" and warns againstthe tendency to minimize the "underlying vein of seriousness which modifiesand enriches his most irreverent sallies" (p, 6). Suggests, for example,that the inversion of the Copernican system in "The Sunne Rising" is notmerely braggadoccio but is rather "a striking re-assertion of man's centralityin the universe" (p. 8). Challenges the notion that Donne is a strict

A Bibliogra ph y of Criticism 1 29practitioner of logic: argues that a close reading of most of his poemsconfirms the centralit . of a lightly camouflaged illogicality, a kind of "intellectualacrobatics which ubtly contradict the accepted laws of rca OIlingwhile yet achieving a new and revitalized rationale of their own" (I'.10); and raises Donne" ., parkling irreverence towards that idol of humanism.logic or 'right rcason' " (I'. 10) a one of the major delights of hispoetry. Sees irnilaritie between Donne's pseudo-logic and wit and themannerist movement in art, for in both "the fi rmness of Renaissance perspectiveand the solidity of its three-dimensional realism have been rejectedin favour of the hallucinatory, the fl uid, and the unstable.. , throughan awareness that syllogistic proofs arc prosaic and nugatory beside theenergizing power of paradox" (I'. 10). Analyzes "The Flea" to show thatits real theme is "the discrepancy between the apparently finn , rationalargumentation and the obvious untenability of the conclusions at whichit arrives" (I'. 12). Maintains that Donne's increasingly serious uses of themetaphysical conceit-and pun reveal his growing realization that "surfacewordplay is in fact rooted in a cultural, rather than merely semantic identityandthe reverberations of the profounder ambiguity eventually assertthemselves to validate and confi rm the apparent extravagance of the initialconceit" (I'. 13). Points out, for instance, that the extravagance of "T heExpiration" is not merely a display of wit and hyperbolic conceit but is athoroughly sensitive description of genuine emotional reality and demonstrateshow in "Batter my heart" the paradox "allows the spiritual meaningto dwarf the physical absurdity" (I'. 14) of the imagery of the sonnet.Concludes that Donne, though thoroughly aware of and responsive to thenewscience, "is intrigued primarily not by the clear rules and indisputableproof science offers but by the contradictions it betrays which support hisown conviction that the fi nal answer are not to be found in the neatlyorganized world of empirical reasoning" (I'. 15) and that, like the mannerists,he reject ' pro aic limitations and strivesto reach out imaginativelyfor verities beyond these restrictions. Records a question-and-answer periodfollowing the talk (pp. 1 6 - ~ I).~ 363. S., R. "John Donne's Autograph." BLR 8, no. 5: 234- 35.Announces the acquisition by the Bodleian Library of the autograph .manuscript of Donne's verse letter to Lady Carew from the collection ofthe Duke of Manchester and identified by the staff of Sotheby's. Notesthat it is "the only autograph manuscript of an English poem by Donn eand one of the very few autograph manuscripts of an English poet beforelilton" (I'. 234). T hanks contributors who made the purchase possible.~ 364. SAKURAI, BGICHIRG. "Songs and Sonnets no Cenjitsu' [T heReality of Songs arul onets]. loshidai Bungaku (Gaikoku Bungaku)rOsaka Joshi Daigaku) 23 (l larch): 37-54. -Di cusses those poems in the Songs and Sonets described by Helenardner as "seriou " love poems and note that they arc characterized by

John Donnea sense of ecstasy and joy. Examines in some detail "The Anniversarie"and "T he good-mo rrow" and suggests that the motivation behind theselvric i fear-a fear of the outside world. of love cndin , and of the unbithfulnes0 the beloved.~ 36;. t\. DBANK. 111M j • "On the tructure of ome cventccnth-Cent ury Metaphors." E. ;2: 323- 30.Oi cuss \ y that a reader should approach eventeenth-century imageand metaphor and challenge "the neutralization-o f-the-vehicledoctrine, or the never-try-to-visualize-it rule" supported by certain modemcritics of metaphysical poetry Concentrates primaril y on images foundin character books and hows that often "the vehicle is not the facelesscarrier of a logical truth" (p. 328) but mu t be visualized. Opens up qucstionabout the "mctaphysicalnc s" of metaphysical poetry. Argue that,whereas the Spenserian poet tends to relate sense impressions harmoni ­ously to 011e anot her, the metaphysical poet typically sees "logical resemblanceswhile being aware of sensory disparities" (p. 330). Uses Donne'scompas. image in "A alediction: forbidding mourning." as well as selectionsfrom the errnon . to iIlu trate the general discussion.~~ 366. A 'DER , \V ILlIl Jlt /ohn Donne's Poetry. London: Cambrid genivcrsity Press. vi. 160p.Reprinted: 197+cknowledges that Donne the poet ha achieved "cia ic" statu in thicentury but uggests that modem criticism has "left u with a Donne whomevery choolboy knows is a great poet, whom many tudents of Englishliterature su I' cl i not, but of whose cia.sic status. anyway, we pos es: nocogent contemporary accou nt" (I" I). Points out that Dr. Johnson" crilicismof Donne ha never been adequately an wered by modern critics andattempts uch a reply. Di likes in particular T. S. Eliots approach 10 Donne,finds Coleridge' critici J1l engaging, and endor es es entiall . the criticalapproach of F. R. Leavis. Argues for an approach to Donn e that examinesmore closely the persuasiveness of the authoritative, masculine, speakingvoice in his poems. Maintains that Donne is most engaging \ hen he docsnot play witty game, docs not advertise his cleverness, and does not attemptto distance himself through a persona. Argues that in Donne's mostsuccessful poems "utterance is not for him a way of relieving his feelings:it is a wa of discovering, creating, realising his feelings" (I'. 13) and yetacknowledg . that oftcn I onne can sink to the level of "pure Clevelandirn" (p. 17). Discuss Donne' uses of wit and humor through an examinationof Paradoxes, the atytes, and the Elegies and suggests that theearly works arc primari ly "performances," which, in the final analysis, . re"inventive rather than creative" (p. 39). Suggests that Donne' carlv poeln"make one unfailing demand on its readers: agility" and that "we have 10be awake to the endles elf-betrayal the tone can urpri e u into; and \

A Bibliography ofCriticislIImust he very limber to handle those perversions of logic a flagra nt thatthe guffaw die ' in the throat, or to avoid fa lling for affectation ' of bluntgood ense whi h rapidly reveal them elves to be intellectual booby-traps"(p. 44). Discu e "\\oman call tancy," 'The Apparition:' and especially"The Canonization" and " he Extasic"as unsuccessful poems that exhibitcontradictory manifestations of wit, Argues for the superiority of such poemsas "The good-marrow," "The urine Rising," "1 he Anniversarie." "" Valediction:forbidding mourning:'" ong: weetest love, I do not goc," "Aircand Angels:' and "Loves growth"-poem of fulfilled love that "offersomething to our under tanding of love which i not available el ewhcre''(p. 61) and that do not indulge in pyrotechnical devices, excessive wit,manipulated irony, and mere cleverness. Comments on the curious andcan.cious relation hip in Donne' poetry between idealized love and rexuallove and note that in a number of his poems Donne' "sense of theridiculous punctures the idealisation, and his unqu enched thirst for theideal makes him restless with the merely fleshly" and suggests that in hismost successful love poems he presents "a love so present that the desperateoscillation of pirit loses itself in the vastness of fulfi llrncnt" (p. 10 ).Comments on .uch poem a "The Extasie," "Going to Bed," "The Relique:'and "Love growth" to how that in his greatest poetry Donne doenot create an antithesis between higher and lower love. Observes, likewise,that in Donne's religious poems "there i no hallow antithesis betweenthe natural man ami religion man, but a deep continuity" (p. 11 0),but. on the whole. find the religious poem le engaging than the lovepoem. Sugge Is that "when Divinity is my tcry, not love or wonder, weget doctrinal gYlllna tic Iikc 'La Corona' and the majority of the Hal)'onnets- poem which know 50 well in advance what the range of po ­.iblc feelings i . that the ' arc incapable of feeling any of them" (p. 1\4).Find "A nocturnall upon . Luci day," for in tance, more effective onth ubiect of death than mo.t of the Hoi)' onnets, which arc said to bat times overly controlled and "hysterically out of control" (p, 130). Dismissesthe AnTli l'er.~aries as "constrictingly and repressively pedantic" (p.1 6) but find " ince he whom I 10v'cJ hath payd her debt," on the deathDonne's wife, a poem in which "divinitv love, and wonder arc momentarilyone" (p. 138). Praises the hymns a poems, like the best of theougs and Sonets, that "usc the voice of the whole man and draw uponhis experience as a whole man" (p. 139) and do not resort to ironic evawcness,self-parod , excess of wit, self-conscious play, nor need for a perna. (Does not comment on " oodfriday 1613. Riding \ estward.")ncludes that I anne deserves the title classic and "need fear nothingIII the vagarie of critical fashion, the apo tasy of his prophets-or evenIII the indu try of his expositors" (p. 159). Makes numerous comparibetweenI onnc and man ' other authors, especially Do tOC\ l·y. O. II.nee. Joseph Conrad. Henry James, \ ord worth, Coleridge, Keat ,r, G. ~ 1. Hopkins, George Herbert, and George Eliot.

[ohn Donne~ 367. SANa, IORITSUGU. "Donne no 'Primrose' ni tsuitc' [On Donne's"Primrose"]. Kenkyu Hokoku (Sasebo Kogyo Koto crn rnon-Cakko)no. 8 (October): 181- 86.t\ close critical reading of 'T he Primrose."~ 368. SCHWARZ, DA NIEL R. "The Unity of Eliot's 'Ccrontion': Th eFailure of Meditation ." BuR 19, i:55- 76.Discusses T S. Eliot's uses of Donne's Anniversaries in "Ccrontion.'Notes that Eliot's main character desperately attempts "to place his lifewithin an eschatological context and to achieve the hum ility and passionatecommitment to Christ on which his salvation depends" and that "byhaving Gerontion consciously quote Lancelot Andrewes and unconsciouslyparody a passage from Second Anniversary, Eliot implicitly juxtaposesC erontion's monologue to the spiritual unity and concomitantrhetorical control of successful meditations within the tradition of coniemptusmuudi" (p. 55). Suggests that in thc Anniversaries Dunne is"dramatizing the process of discovering spiritual certainties amid excruciatingand agonizing doubts that his Zeitgeist presented to him" (p. 60)and that Eliot intentionally juxtaposed Donne's effo rts at successful meditationto Cerontions ineffectual attempts at meditation as he moves towardgreater fragmentation and doubt.~~ 369. SICHERMAN, CAROLM, "Donne's Discoveries." SEL 1 t : 69-88.Discusses a common pattern of development observable in over a dozenof Donne's poems: "after a confident or at least decisive opening, the speakermoves from initial certainties to new perceptions and emerges fi nally toan assured conclusion, making discoveries about himself which neitherhe nor we his readers have fully anticipated" (p, 69). Points out that thespeaker. although primarily confronting some interior crisis, carries outhis self-examination by exploring his relationship to Cod or to a womanand that the language the speaker employs in his search is continuous andthc metaphors "servethc development and may not be excised for separatescrutiny" (p. 69). Exemplifies the pattern through a detailed reading of"Coodfriday, 1613. Riding Westward" and 'T he Autumnall" and showthat in these poems "we hear a speaker forced by his own acuity andhonesty to abandon a false confidence and to recognize and accept anunwelcome truth about his personal situation" (p. 78). Shows in a lessdetailed manner how a similar pattern obtains in "A Valediction: forbiddingmourning," "A nocturnall upon S. Lucies day." the Anniversaries.and the twelve Holy Sonnets that form a sequence.~ 370. SI GH, BRIJRAJ. "Iwo Hitherto Unrecorded Imitations of Donnein the Eighteenth Century." I&Q n.s. 18: j O.otes that twoanonymous poems, '''I11e General Lover" and "The LoversCurse," which appeared in The Universal Spectator (no. 280) for t 6 Februaryt 736, are based on Donne's "The Indifferent" and "The Curse"

A Bibliography o{Criticismrespectively. oles thai there arc several imitations of Donne in The UniversalSpectator of this period: ( t) "To ir Gimeraekle oddy" (no. z ~ 8 .1, September IT 3) i an expan ion of "Antiquary"; (a) "The Ian ofBusines no Lover" (no. z60. Z9 cpternber 1733) is ba ed on "Breake ofday"; and ) "The xoniani Trip to the Drawing Room" (no. 2 . zFebruary 1734) draws on atyre J\ . ee also J. C. Maxwell and E. G.Stanley (entry 344) and Peler . Tasch (entry 3 , ).~ 371. STANWOOD. P. G.... • scntiall [oye' in Donne's Anniversaries."TSLL 13: 227-3 .Reprinted in Essential Articles (or the Stud y o{ lohn Donne's Poetry,edited by John R. Roberts (entry 7 6), PI'· 3 7- 96.Ex-plores the essentially religious and Christian dimensions of the twoAnniversaries, especially their teaching about sanctifying grace, and arguesthat the poems "mediate for Cod on behalf of Christ, with the poethimself acting a priestly offiec by turnin g his poetry and himself into aholy sacrifice. into which and out of which grace may flow" (I'. 2Z8).Maintains that Elizabeth Drury is not allegorical but is "the idealized, thesaintly embodiment of Cod' free gift of sanctifying grace" (I" 229). Suggeststhat in The first Ann iversary Donne anatomizes the decay and corruptionof the world. "the fa llen world in need of the grace which Elizabethembodied" but that The second Anniversa rie "is a poem about ElizabethDrury, but it i also, and more important, about the creative powerof the oul itself. above all about the power of the poet who interprets andprophesies and gives form to the highc t truth"-and thi truth i "the lifeofgrace made po.siblc bv ad, through the Incarnate Christ. in the Holy'pirit-and it infu c everything" (pp, 231-3Z . Argues that Donne. '\ hohim elf accompanie Elizabeth on a progress. and identifie himself withher. transforms, by mean of grace available through Christ and embodiedin Elizabeth Drury, the vulgar world: for he has made possible its transubdantiation"(PI'· 237-3 ).~ ~ 7 '2. . STEELE, T HO MA ' J.. S.). "Donne's HoI)' S011T/ets, A1V" Expl29: Item 74·Suggests that throughout "Batter my heart" Donne uses the secondperson-pluralform of the pronoun (YOII) and therefore finds untenable theuggestion that Donne singles out the I·ather, the Son, and the Holy Spiritm the fir I, second, and third quatrains respectively. Furthermore suggeststbal the word tavisli (line 14 ) does not mean to rape but "to take away. toremove.patially, as when t. Paul is spoken of as being ravished into theiird heaven." 1 otcs that the soul, traditionally seen as feminine. is "prinlya king to be taken away from her bondage to the enemy of thee-person'd Cod."uno. 'OBUO. " hri tian Humani III to shite no John Donne'John Donne as Christian Hurnani t]. in Tushichi seiki Eibunka

10hn Donneni okeru Christian Humani m [Christian Humanism in eventeenth­Centu ry t nglish Literature], pp. 5-40 . Tok-yo: Yugaku ha.Di cu c the natu re of Chri stian humanism and, through a urvey ofDonne" poetry and pro e. show how he reflects the basic tenets and altitudeof the Christian hum anist. Comments on Donne's baroque sensibilityand on hi preoccupation with death.~9 "'74· U ,I 10 1'0 , Rv- ['An o . Kei;i;oshi no Sugata to I iagare [Metaphyical Poetry- It Forms and Development]. Tokyo: hinozaki• horin. 2'pp.General critical introduction to metaphysical poetry. Chapter I' , "AnIntroduction to Metaphysical Poetry"- its historical background and usesof wit and the conceit; Chapter 2, "]ohn Donne"- a study of the techn icalaspects of the Songs and Soneis as well as a survey of Donne' view ofwomen as refl ected in the secular poems; Chapter 3, "The Poems of C rashaw"-with attention to rashaws relation to Donne and Herbert; Chaptel'4, "Metaphysical Poetry und Marvell": Chapter 5, "Milton and MetaphysicalPoetry"; Chapter 6, "Coleridge's Criticism of Metaphysical Poetry";Chapter 7, "T . Eliot and the Metaphysical Poets"; and Chapter S, "Donnein the 'Rventieth Century"-a review of criticism and scholarship. StrcsseDonne's originality in style and his innovative experimentation with formand argue. that by mean of the conceit and the uses of dramatic techniqucsDonne was able to control the possibilities of emotional execs. inhi poetry. uggest that Donne's fragmentary. complex, and often conflicting view of women perhaps are reflections of or projections of hicomplex per onality~ 3 5· A. CH, I' El l:m . Replie to "1\\'0 Hitherto nrecorded Imitationof Donne in the Eighteenth Century," N&Q n.s. 1 :464.I otes that " Ib a Lady. who lov'd angling, from a Hint, ul of DrDonne" by aron Ilill (1753) is based on "111e Baite." Suggests that thi:item. along with additions made by the editors in N&Q (entry 344), shouldbe added to those by Briiraj ingh and the editor in N&Q (entry 370).~~ 376. T HOMAS, ] li N A. "]ohn Donne's The Progresse of the Soule: t\Re-Evaluation." BHivliVlLA 25: 1 1 2.-2. 1.Argues that the'narrative of The Progresseof the Soule "is carefullywroughtto give rn acrocosmic perspective to the poem" and that "each cpisodachieve its own balance or a balance with other episodes through structureand through witty similia interlaced with aphoristic pronouncemcnts'and describes thc poem as "considerations of heretical and orthodoxopinions on rcation derived from emblematic picture . quickened It ~Donne' trang-lined poetry" (p. 112). Presents a reading of the poem andcomments e ipcciall . on its tructurc, allegorical qualitic , witty and. atiritone. emblematic criou ne .s, symbol and language, and p.eudo-logicandproverbial morality. i\ laintain that the poem reveal Donne's "originalu

A Bibliograph}' of Criticismand complexity, his mock eriousness, and his love of dramatic argument"and feels that, even though much of the material in it is commonplace,Donne's "partial and electing geniu finds a new way to develop a proverbialcentral thcmc- that thi earth offers ecurity neither to the weaknor the trong' (p. 12 I ) .~ 3 7. WEBBER. JOAI . ". tyli tic : t\ Bridging of Life and rt inSeventeenth- Centu ry tudies." J LJ-l 2: 283- 96.Argues that .tyli tic "i an excellent tool by which to refocu. criticismso that it can work evenhandedly along the spectrum. gathering into thecanon of works that have been thought too unliterary for serious consideration,reaching even beyond written works into men's lives, and yet atthe same time continuing to assert for criticism the primary importance ofesthetic and moral design" (I'. 284)' Concentrates primarily on literatureof dissent written in the seventeenth century: "Because both in contentand form it challenges accepted values, this literature forces one to attendto questions about the primacy of such values, the absoluteness of anyliterary criteria, and the automati c distinction between meaning and valueof life and those of art" (I'. 284). Comments primarily on John Lilburne,George Fox. and Milton but also mention s Donne's Satyres. Points outthat the topicality of the poems has. for the most part, made them lessinteresting to modern readers. and tim "we have been pleased with Donnethe exual rebel. and with Donn c the religious rebel. but Donne the politicalrebel, as he was in hi early twenties, has never stirred our in terest"(p. 290). Suggest that in 1970 orne of Donne's lines in the Satytes " uddenlycarne alive" a student recognized irnilar contemporary politicalsituation.~9 3 8. WELLINGTO , JAM ; W "The Litany in Cranmer and Donne."SP 68: 177- 99.Discusses "The Litanie" primarilj "in the light of that theology and thevarious forms of the English litany available to Donne in the seventeenthcentury" (1'. 178). Argues that Donne's litany follows in both form andwording the litany composed by Archbishop Thomas Cranmer in 1544and its successors, not the Roman Catholic litany, and that the theologythat informs the poem is characteristically Anglican in all respects.•~ 379. Wnrrc, H ELEN, R UTH WALLERSTEIN, RI CARDO Q UINTANA, andA. B. CHAMBERS. eds, "John Donn e," in Seventeenth-Centu ry Verseand Prose, Volume 1: J600-1660, pp. 73-131. zd ed. New York:The Macmillan Co.; London : Collier-Macmillan.Revi ion of the 19-1 edition. with new introduction to Donne and withnote. elections. and bibliography. General introduction to Donne'sreputation, and poetry. followed b . a elected bibliography (pp. 73­uggests that Donne "is rna t to be admired as a celebrant of secularcred love" (p. 73) and call him "the best representative of his time"

John Donne(p. 74). Maintains that "whatever the theme or form of Donne' writing,the basic matter of it is the arne. the infinitely subtle and endle Iy ramifiedelf-awareness of one man, John Donne" (p. 74). Reproduces thirtyfivepoems (secular and religious), a selection from The fzrs t Anniversa ry,and selections from Devotions II/JOIi Emergent Occasions and from twosermons,U'! 380 . WILLY, MARGAREr, ed. The lvletaphysical Po ts. (T he EnglishLibrary. edited by James iutherland.) London: Edward Arnold: Columbia, S.c.: Univcr: ity of outh Carolina Pre s. x, q qp.n anthology of rnetaphy ical poems divided into two sections: (I) poemsof Jove and death and (2) divine poems. Contains a general introductionto metaphysical poetry (pp. I-I I ) and includes fourteen of onne s poems,ea h with a brief critical introduction and explanatory notes (pp. 12-40,79 -8;). Includes "T he good-morrow;" 'T he Sunne Rising," "A valedic­Lion: of weeping;' "A Va lediction: forbidding mourning," "Airc and Angels,""The Extasie," "A nocturn all upon S. Lucies day," "The Canonization.""T he Relique," "T he Anniver uric,' "Batter my heart," "Death benot proud," "Hyrnne to God my God. in my sicknesse." and " Hymneto Cod the Father." Selected bibliography.~,. 3 I . Wnso:" DJ"'ID B. "La Puce de Iadame Desroche and JohnDonne's T he Fica...· r ,1 2: 297-301.Suggests that "The Flea" is a witty and dramatic reworking of Frenchpoetic conventions and puns. Points out certain similarities between thepoem and the poems publi hcd in La Puce de Madame Desroches (I; 83),especially Etienne Pasquiers "L1 Puce de E. Pasquicr." Argues that Donne'smodel is clearly French, not, as orne critics have uggested, Italian, sincethe references to "maidenhead" and "manage bed" suggc t Fren ch punon "puce," "pucelage," and "depuceler," Argues that the poem i perhapwittier than many critic have upposed-"in the ense that hi seventecnthcentury audience would have been aware of the irony inherent inhis refashion ing of the flea motif and might also have been aware of thedeliberate or accidental in ertion of French puns into an English poem"(p. '30 1).1972~~ 382. A NON . "D iverging on Donne." TLS, 29 Decem ber, pp. 1581­82.Review article of R. C. Bald John Donne: A Life (entry I 9); lohnDonne: lgnaiiu his Conclave, edited by Timothy . Healy (entry 79)'10h1l Donne: Satires, Epigrams and Verse Letters, edited by Wesley • lilgate(Oxford: The Clarendon Pres, 1967): Peter Amadeu Fiore, ed.. Ju stSo Much Honor (entry 421 ): and A. J. Smith , ed., John Donne: Essays in

A Bibliogra phy o{CrilicismCelebration (entry 50 ). Suggests that the "numerous serious studies andcente nary tributes prove that Donne's poetry continues to fascinate-s-adoes the debate over what constitutes its essential qualities" (p. 15 1).Comment. on the general state of Donne's reputation and of Donnescholarship in the twentieth century and points out a num ber of difficu l­ties and uncertainties that still confront the Donn e specialist, such as ccrtainareas of Donne's religious and political thinking, his immediate ancestry,details of his life during his middle period, and the dating ando:rdering of the poe m .'

John DonneDi cus cs the contemporary religio-political controversies that form thecon text of Ignatius his COlic/ave. Agrees with T. . Healy that Donn e'sattack on the Jesuit wa devised, in part at least, as a satirical mockery ofRobert Bcllarrni ncs attack on James I' defen e of the 1606 ath of llegianccbut argue that to understand fully the function of Donne's atiricalmockery one mu t al a consider his attack in the context of antilachiavellinnliterature of the time and its relationship to anti-]e .uit polemics.Points out that Donn e's notions about Machiavelli were, for themo -t part, popular! held view and that he need not have read ~ lachiavellito have obtained them and .uggests that Donne clever! ' u cd ontemporaryanti-Mac hiavellian attacksas a means of hewing that the Jesuitswere perhaps more Machiavellian than I Iachiavelli, Di cus es alsovarious charges of Machiavellianism hurled by both Protestants and moderateCatholics against the Jesuits, commenting in particular on three anti­[e uit work. by the English secular prie I William Watson. Argue thatDonne's view of Ignatius in the Conclave is shaped and influenced bymany of these contemporary sources, not just by the controversy surroundingthe Oath of Allegiance, but that he goe even beyond the usualcharge and finally pictures Ignatius as triumphing over Machiavelli inhell by claim ing that Jesuits arc committed not only to political murderbut al a to the overthrow of royal power itself for the benefit of the RomanChurc h.~ 3 7· AR I ·no. 'G, It", L. "Donne' 'A [eat Ring ent .'" Expl 30:Item 7 .In part, a reply to L. P.' inqui ry (entry 246 ). Explicate lin ' 7-8 of "t\[eat Ring cut": "Figure our loves? Except in thy name th u have bit! itay, / I am heap, and nought but fashion, Ring me'nway,' uggesl. tlmlthe pronoun reference ar as follows: "our (the lovers'); tit ', thou (thewoman); it (the ring); I, me (the woman )." peculate that Donne may cthe woman as saying that she is unworthy of his love, either as 1I maneuverin the gam of lov ' or a an unconscious revelation or factual .elf-reproachSec also Edgar I'. Daniel (entry 402 ). For a reply, sec Thoma J. Wertenbaker,Jr. ( mtry (67).~~ 388. BAIRD, JOSEPH L., AND LORRAYNE Y. Bt\lRD. "John Donne'Southeast I iscovery" RLV 38: 254-62.Argues that it i "only b recognizing Donne's calculated manipulationof the ambiguities of 'west' and 'southwest' and 'disco\'ery'" (p. 2 H ) thatone can fully understand "Hyrnnc to Cod my C od, in my sickncssc."Explores ariou: level of meanings and possible traditional interpretationof the c dire lions in the poem and attempt to show that the whole poemis a blending or harmonizing of contraries, of "eastnes -wcstness-e-bodyspirit.death-resurrection, degradation-regeneration, physical-metaph ieal'(p, 261 ) and sugge:t thai I onne' in piration for the phrn c outb-« tdiscoverie may have com from Saint Jerome.

·~ 3 9· 13A"-'ER- IITII, Om-Ill IC. "[ohn 0 nne's Critique of True Religion,"in John Donne: IE a)'s in Celebration, edited by A.]. mith,pp. 404-32. London: 'Icthucn & o.Ch allenges T . ' liot' bro. d ertion that. unlike the more medievalLancelot ndrewes, mnc in hi errnon i. more modern in hi cultivationof pc anality and elf-e.'pres ion and argues that Donne' "rnodernity"is, "when anal, cd. the cxpr ion of a new mode of religiou ensibility;one which differ from the 'medieval' certainly but i not Ie rootedin tradition" (p. 432). Di.cuss 's I anne' religiou development from atyref11 to his sonnet on lhe hurch to show that throughout his life he heldthat "the quest for true religion involve can taut self-discipline, a refusalto ettlc for an idol or pseudo-Church which relieve the individual of hisobligation. " (p. 432). Argue that in hi qu t for authentic doctrine, inhi. debates with the .xtrern s of both Rome and Ceneva, in hi approachto biblical exegesis, and in his fi nal interpretation of the demands of faith,Donne freely admits un clement of subjectivity, for to him "man is notsaved by a system but by a personal relation with C od expres ed in assuranceof mercy" (p, 4 13)' ores that "that ;)\ areness of the immediate andthe momentary which ha been 0 admired in Donne's ccular poemplays an equally vital role here in hi formu lation of religiou experience"(p. 41 ). rgues that I onnc 'ought the authentic self. without which"divinity becomes an intclle tual game and the Church a self-perpetuatingy tern" p, 418). Comments extensively on Donn e' relationship with religiouthinking of hi time, cspeeiall ' on the Continent, as expres. ed bysuch notable a Paolo arpi. Di eu es in the light of Don ne'. rcligioudcvelopm nt a num ber of individual worxs. pecially Sat ne Ill, certaino he ve e epi tl zs. th Anni\'e aries. th rmons, and P eudo- ~ 'Ia rt 'T,~~ 39 0 . BEER, P,\llHCIA. All Introduction to the Metaphysical Poet .London and l3a. ingstoke: Macmil lan Pre s: Totowa, I ,J.: Rowman& Littlefi eld. 1 1 5p.Ccncral introdu ction to rnctaph ' ical poetry de igned primarily for studellill their first year of reading for an English honors degree. Dividedinto even hapter : ( I "'I he Term 'Metaphysical''' (pp, 1- 12). (2) 'T hehiefCharacteri tic of Metaphysical Poetry" (pp. 13-33), (3) "John I onne'(pp. 35- 54), (4) "C orgc Herbert" (pp, 55- 70 ), (5) "Henry Vaughan" (pp,-1- 83), (6) "Andrew Marvell" (pp. 85-98), and b) "The Metaphysical( (let!; and the Twentieth cutury" (pp. C)C)-I 12). T he chapter on I anner cnf a biographical . ketch and discu.. es "T he Funerall.' "Batter IIII rt." and "The good-morrow" as typical of Donne's themes and tyle.\ that "of all I 'I taph sical poetry Donne' i the richest and mo t di-" p, ;'").II. . " rthodoxia Epidcmica: Donne' Poetic and. ~ Valediction: I My arne in the indow."· SAQ 7 1 : 377- 9.that "the po e of the libertine or . nic in Donn e' witty lyric

John Donnehas never .ecmed quite convincing" (p. 378) and that even in the mosterotic poem "we en c an unde rlyingdisillusionment with the very physicalshortcomings, the sad finiteness. of the sexual act" (p. 79). ugge tsthat the libcrtinisrn in much of Donne' poetry is his own skeptical an wcrto his unccrtaintie about love. . ote , for example, that in . uch p ems as"T he good-morrow," 'T he Canonization:' and "T he Ann ivcrsaric" I annepresents a pattern "0 venting a thir t for the infinite and then imposingrational limits on it" p. 3 I ). ornrnents in orne detail 011 "/\ Valediction:of my name in the window," which is seen a "an important key toDonne's nature both a a man and a a Renaissance poet" becau e in it"the suhliminal struggle of faith and doubt in the religion of poetry seemsto surface" (p. 384). uggests that the poem ultimately shows that "mythhas not the power to metamorphose reality; that not magic but rule ' governour lives" (pp. 387-88). Conclu des, therefore, that Donne was skepticalof his own crcativ , motions and that hi unccrtaintic "are a profound,his mistrust of the merely fictive so ingrained, that it was inevitablehe would come to rest where uth orily was greatest: in orthodoxy, notparadoxy' (pp, 388-89).'-'"!~ 39Z. BULLOUGIl , E FFlmy. "Donne: The Man of Law." in Ju st 0Mu cl: J101l0r: E.~s C1 'S Commetnaratine the Four-Hundredth Anni·vetsary of the Birth of JO/Ill Donne, edited by Peter Amadeus Fiore.pp. 57-94. nivcr it)' ark and London: 'm e Penn -lvania tatenivcrsity Press.ornrncn on onncs a 0 iation with the Inns of Court during bothhi. earl 'cars a. a student and his later years a Reader of Divinity to theBencher of Lincoln' Inn. Points out that Donne's legal tudies, his continuingand \ ide-ranging interc t in all kinds of law (divine. human.physical. and natural), and the intellectual and literary atmosphere of theInns of ourt greatly affected his poetry and prose. Suggests that Lonne'fondness for and extensive lise of the epigram, the paradox. the problem.and afire may b . traced in part to his experiences at the Inns of Court.where these genres \\' ire very much in fa. hion and highly developed.Comments also 011 Donne's extensive lISC of legal rcferen cs, allusions,and analogies in hi. literary works and especially note hi uses of his legaltraining and knov ledge in the Satyres, Biathanatos, Pseudo-Martyr, E..SCI)'S ill Di"inil)'. and the sermons. particularly those preached at Lincoln'sInn and tho c on the theme of death and judgment.V!!~ 393. Cxxnuuoc " '!VEHSITY. An Exhibition to Celebrate the Worhand Reputation of1ohll Donne, 15T2-1631. Cambridge: CambridgUniversity Press. J ap.Catalogof an exhibit held at ambridge from 23 ctober to 23 I e ernber19 2 to commemorate the quatercentenary of the birth of I onneArranged by I avid MeKittcrick. Preface (p. I ) by E. B. Ceadel. lilnan IInotes that. III addition to hooks and manuscripts by Donne. the e. hibil

A Bibliography o{C riticisl1lcontains eight books from OIl IlC ' library (several in contemporary bindings).all four book. dedicated to 1 an ne as Dean of St. Paul 's, lzaak Walton'scopy of ix ermons. and . hown for the firs t time, the UniversityGrace Book K which r ord Don ne's honorary D.O . degree. conferredby royal mandate in 161 , . Introductor note (pp, 2-3) reproduce part ofa pagc from the Crace Book and comments on the circum tances urroundingthe eve nt.otes that the exhi bit includes all editions of th ePoems from 16 3 to I 79 and also one of the two known copies of the1611 An Anatomie o{til )\Vorld. Listing. divided into sixteen ections: ( I)The first and second Anniversaries (7 items): (2) Books including contributionsby Donne (3 items); (3) Early manu scripts of Donne's poems (7items): (4) Collected edition. of the Poems. 16 33-1 779 (17 items); 5) Juveniliaand Essa)'s ill Divinit), (7 items); (6) Pseudo-martyr and its earlyreputation (4 items); (7) Conclave lgnuli (8 items); (8) Biaihanatos and itsearly reputation (8 items); (9) Devotions upon Emergent Occasions (10items); (10) Sermo ns (27 items); ( I I) Letters (2 items); (12) Books dedicatedto Donne (8 items): ( 13) Books from Donne 's library (8 items); (14) Th enineteenth cent ury (7 item ); (I; ) Th e twentieth century (7 items); and(16) M usic (2 item ).~~ 394. C AMPBELL, JA. E. The Retrospective Rel'iew ( I 2(}-! 2 ) andthe Reviva! o{ eventeenih-Century Poetry. (Watcrloo LutheranUniversity lonogn ph • erics.) \ atcrloo, Onta rio: \ aterloo Luthcranniversity 761'.Outlines the history of the Retrospective Review (London, 1820-1 82 ),comments on the literary background of the review and a sesse the importantrole it played in the reevaluation of early eventeenth-century poetryandpoets during the Romantic period. Specifically outline and comment-onthe cont ribution made by thc Review to Donne's reputation (pp.;0-56). Discuss ' the critical attitudes of iouthey; Coleridge, Lamb, Hazlitt,and DcQuinct:y toward I onn e and primarily comments on John pence'scritical essay on 1 onnc that appeared in the Retrospective Review li823):,1-35. uggests that pence's evaluation was generally influenced byColeridge's commen ts and notes that it is "the only article to bc devotedto Donne during the whole period" (1'. 53).'4~ 395. CARRITIIEHS, C ALE H., JH. Donne at Sermons: A Christian Exiteniial \Vorld. lbany: State University of ICW York Press. x, 3191'.Proposes "to distinguish the genius of 'the sermon' among generic waysof relating to the world, .. . to explicate some Donnean existential conictionsin action." and "to document John Donn e's achic ement in putnghi own world together" (I'. ix). ales that the approach "will bhenomenological in t rnper and existential in a umption in ways anal­:>om to Donn e' own a urnptions" (1'. 4). Divided into three parts. Part"The Sermoni World" (PI'. 1-1 26), contains two general and analyticapters. Chapter 1 , "Donne and the ermonic Muse" (pp. 3-35), de-

ohn Donnescribes the generic characteristics of the sermon and notes that, "like philosophicalpoetry, epic, and dements of all drama, it looks to the present'and, "like comedy, the crmon has in the present some sort of headingtoward a bright future" (I'. ). tre. es that the sermon i a dramatic enterprie and is fund. men tall ' "dialogic" in nature and uggc. that I anne'"dynamic effor to make the sermon enli t it auditors in both 01' ical andacou tical pace seem ... demonstrably better executed than tho 'C of :m 'other Anglican" (p. I::!). Notes that incc it is "a communal. in lusivc.dramatic 'excrcise:" the sermon uses metaphor and allegory energeticallyand uggests that Donne's most pervasive metaphor is "living as lral'­ellin ." (1'. 21 ). haptcr c, "T he Exi tential Order of Discour .c" (PI'· ~7­1:!6), argues that "the obviou term to use for Donne' way of being-inthe-pulpitand being-in-the-world i. existential" (I'. 3 ) and discusseDonne's ontology under four major topics: "(I) several kinds of things arcreal; (2) hum an life is characterized b limitation; (3) (a logical consequenceof 1 and 2) the relativity of human perception, cognition, andconstancy; (4) men live not in the world as God sees it or as an measuringinstrument sees it but in a life-world of past, present, and future involvement" (I'. 39 . Discusses in some detail Donne's uses of imaginative language,rhetorical figures, and dramatic clements in his sermons. ' uggc tsthat at the end of. Donne sermon one enses that "he has kept the faithof his calling by making himself present to an issue of ultimate significanccas he develops it from biblical context or topical context to lifecontext" and that "he has hown hi listeners a way through to a responsethat can unite th m all in more abundant life" (1'. 126). Pari II, .. ingliermon " (pp. I::! - 9). pre en a detailed analysis of four sermon in thelight of the preceding critical commentary. and Part III, " ermon Text."(PI" 19 1-2 ) , present the texts of the four ermons analyzed. ote pp.:l 7-306) and index (PI'· 3°7- 19).V! ~ 396. COll E, R "AU E L. '''All in Peeces': Problems of Interpretationin Donne'. Anniversary Poems," in lust $0 Much Honor: Essay.Commemorating the Four-Hundredth Anniversary of tile Birth Of/O/IIIDonne, edited by Peter Amadeus Fiore, pp. 189-:l 18. nivcrsityPark and Loudon: Th e Pennsylvania State University Pres'.Evaluates recent critical discussion of the Anniversaries and notes that"the various interpretations have seemed especially selective ami diffieultto modulate into a general under tanding of the works" (I'. 189)' Pointsout that, although the criticism of . uch scholars as Marjorie Hope Nicolon,Loui L. Martz, Gcorge Williamson, O. B. Hardison. I' rank 1 Ian­Icy, lorthrup Frye, Earl I liner, and others helps in explaining the argument,imagery, philosophical doctrine . or structure of th poems. thesreadings "conspicuously do not mesh with one another in mutually valuablecontributions 10 interpretation" (1" 19 2). Argues, however, that "thepoem' ho pitality to multiple readings i not a function of the author'loppine 0 much a of his rigorou inclu iveness": show that. in fae

A 13ibliographr o{riticismthe poems con .ciously "exploit pia fully and seriously.

fohn DonneDonne's uses of alchemical images in his poetry and considers also "howsome of the broader issues of Hcrrn etism bear on Donne's vision of things"(p, 324). otes that alchemy provided him with "a art of . ymbolic shorthandwhose terms evoke a certain way of approaching some of his majorpreoccupations. and when he uses its language he does it with the scriousnessand precision of the alchemists themselves" (p. 348). Points outthat in the secular love poems Donne often employs alchemical imager '"dramatically and Ilarnboyantly and twists it into striking paradoxes" (p.34 1). Suggests that Donne "derides the scientific mode of empirical enquirybecause we la k the faculties for it" (pp. 338-39) and yet maintainsthat Hcrmetism, as such. was for him only a symbolic modc of reflectinghi philosophical attitudes about such central issue as phy ical beaut)'reflecting inner beauty, death as a process of transformation and completion.the correspondences between the moral and physical planes of existence,the problem of transience and permanence, the need for regeneration,the problem of mutability and decay, and the levels of order andexistence.'~ 400 . CREWE, }. V "T. S. Eliot: A Metaphysical Problem." ESA 1- :1°5-14·Discus es Eliots admiration for the metaphysical poets, espcciall Donne,and comments on Eliot's influence on and reflection of his times. Suggeststhat F. R. Lcavis rna ' be regarded as El iot's "chief apostle or chiefcritic" and notes that "their commo n admiration of the rnctaphysicals isunquestionable" (p, 109). Briefly contrasts "Hyrnnc to Cod my Cod, inmy sicknesse' to Tennyson's "Crossing the Bar" to show how "the learned,religious, witty, allusive, strong-minded and highly-conscious rnctaphysicalscast their spell over a whole generation of the educated few, and gavesome grounds for hope that the great Christian-Classical civilization mightnot be beyond redemption" (p. 114). Suggests that. in Donne, Eliot found"a vocabula ry, imagery, and mode of argumentation that made the Christianstandpoint tenable once again-at least on paper" (p. 114). Notes that"when we read a poem like ' Hyrnne to ad my Cod , in my ickncsse,' weare con cious of how near it must have seemed to Eliot, and how fa r itactually was," for Donne "vividly renews a living tradition" whereas Eliot's"persistent note is one of nostalgia, after the ripe fruit of high-bourgeoiscivilization has dropped from the tree" (p. 114).~ 'j 401. DAICHES, DAVID . "A Reading of the 'Cood-Morrow'" in fust Sojv1ueh Honor: Essays Commemorating the Four- Hundredth AnniversaT)'of the Birth of fohn Donne, edited by Peter Amadeus Fiore.pp. 177- 88. University Park and London: The Penn ylvanialaicUniversity Press.Explicates 'T he good-rnorrov .. to show how the poem "move fromsimple question to a complex 'metaphysical' argument" (p. 177) and how

" Bibliograph ' o( Critici,ml"the increase in the ratiocinative element as the poem moves forward intime i psychologically ju tilled b the emotional cycle which the poemacts out" (p. I ) . uggc t that Donne'sgreatest chievernent in the pocmis "the creation of a compelling world of psychological and ehronologi alreality, a world of experience that actually work itself out in time withinthe poem" (p. I 7) and prni e the p ' -chological plausibilityof the poem,it union of pa ionate feeling with intellectual playfulne s, and i intricatcand subtle development of thought..~~ 402. Dt\ teis. • D ,,\It '. "Donne'. 'A [eat Ring ent.'" 'XpI30: Item77·In part,

John Donn eDiscusses the relationship between the apparent libertine fleshiness andthe idealized spi rituality of 1 eoplatonic love in Donnes ecular love poems.Argues that Donn e's Ieoplatonism is, "in its serious concern with unio n,flesh and spirit, closely related to the philosophic eoplatonism of a Ficinoor a Leone Eb reo and 1I0t simply a compendium of the rhetoricalimages of his time" and that Donne's thought "insists on love as process.or two-becoming-one , the movement within the poe ms which makes theimages fluid and the poetic experience immediate" (p. 506). Points outthat during the Renaissance the Florentine Ncoplatonists, following theStoic allegorist ·, attempted to interpret morally the often voluptuous andsensual classical figures and myths depicted in paintings and poetry andthat "even the figure of Ven us came to be understood in terms of a principleof love in the universe-an ideal of purity- that lay very close toPauline can tos" (p. 506). hows then how "the popular allegorical j eoplatonicreading of the Mars and Venus resolution of irritability and concupiscenceexists in many of Donne's poems as a fundamen tal part of hispoetic movement and his methodology" (p. 506). Argues that just as Marsand Venus were seen as a balance between and a rational control overhuman emotion. . an integration of aggression and the softnes of love, soDonn e's love poems "present to us as readers the process of internal conflictmoving and searching and finally arriving at harmon y and balance"(pp. ~1 0- 11 ). Illustrates how the personae of "llle anonization' undergoconflict and finally arrive at such a harmon}'. Maintains that Donne impliesin the poem that "man comes to the celestial presence by means ofthe terrestrial Venu s," to a fully spiritual love that docs not reject the fleshfor the spirit but rathe r chooses "to transcend and to contain the flesh inthe transcendent union of ouls- a truly Neoplaton ic goal" (p. 512).~~ 406. D ONNE. JOim. Devotions U/J OIl Emergent Occasions. J6;q (excerpt).Cha rlottesville, a.: Alderman Press. Folder C61 x 49cmfold. to 3 1 X 25cm .On e-page excerpt from Devotions upon Emergent Occasions. First issueof the Alderman Press, handset in Caslon types. and printed at the Universityof Virginia Library. Limited to twenty-five copies. Reirn pres ion of750 copies printed for the Associate of the University of Virginia Librarjas a Christmas greeting.~~ 407. . John Donne. Poemas amorosos. 'election. translation.and prologue byJose M. Martin riana. (Coleccion Vi or de Poesia,22.) Madrid: Alberto Corazon / Visor Pocsia. 83P.Th e prologue (pp. 9-1 7). entitled "Ne tas para una primera lcctura deJohn Donne " presents a general introduction to Donne's love poetry andlove philosophy. a short biographical sketch, and a brief survey of hicritical reception. Translates into Spanish twenty-four poems from theSongs and Sonels, fi ve of the Elegies. and "Hercicall Epistle: Sapho toPhilacnis" (pp. 19- 83). without notes or commentary.

A Bibliograph)'o[ Criticism~ 40 . D N " E, D r~NI . "Denis Donoghue Celebrate the Quatercentenaryof John Donne ." pee/a tar, 1 Iovernber, pp. 79;-96.Essentially a review of t\. J. rnith. ed., John Donne: '. says ill Celebration(entry ;0 ). ugge t that in pite of modem critics "people tillread Donne pretty much as he was read forty years ago" (p. 79 - ) but notethat the real problem i "that I onne him.elf ha been dislodged from thecentral po ition he held for Engli h readers forty years ago" and that "itwould be hard to name any ubstantial poets now flourishing to whomDonne' poems speak with unusua l force" (p. 796 ). Finds the essay in thecollection "admirable for being what they set out to be" but complainsthat the collection a a whole "lacks the exhilaration of perception" (p,796) that one found several decades earlier in Empson's criticism.~

John Donnetanzas of "A \':tlediction: forbidding mourning." otc that John on. unlikethe modern reader. "seems habitually to have visualized the referentsof concrete language in metaphor and to have expec ted the resulting imageto contribute to the effect of the whole pa sage or poem" (p. 604).iuggests that. judging Donne's extended metaphor bv these tandards,Johnson would have found the cornpa s image both irrelevant and distracting.'-'!!~ .p 2 . EDW,\Im. AN 110 , '" S. C. "Libertine Literature." TLS. IFebruary. p. 1 9.Asks for information on the earliest specific reference to a pornographicbook in Engli: h literature. Notes that Donne refers to Aretiuos "licentiousricturcs" in ignatius his Conclave (1610). a reference to .uilio Romano'pictures that accompanied Aretina's onnetii Lussuriosi (1527). RejectsDonald Th omas's suggestion in 1\ Long Time Burning: Tire 1-1istor)' ofLitera 1')' clIsorship in I ~ tl ul (/ n d (entry 161) that Donne's reference to Arctinein a letter of 1600 addressed to Sir Henry Wotton is a specific refercuccto the Sonn eit i, See also entry 413.~ 41 3. . "Libertine Lit." TLS. 2 June. p. 633.Continuation of an inquiry about the earliest specific reference to apornographi . book in English literature; sec entry above. uggests thatDonne's allusion to " relines postures" in Satyte IV . line 9. antedatesJon on' reference in Vo/pone by ten year .'-'!!

A Bibliography ofCriticismthe via media" (pp, 49-;0 , oncludcs, therefore, that, when een together,the two poems present "a highly complex dramatic comment upontwo extreme and inadcquat respan es to the human condition, yrnbolizedb . the death of the girl," and that Donne' u e of personae "allows usto appreciate better the dramatic power through whieh Donne per uaivclypr ents hi argumcn for the middle \ y of Anglicani rn" (p. - ).~ 41 ~ , ELLRODT, R n"~RT , '" e Platen a 'Iraheme: L'intuition de l'intanlehez les poetc m taphysique anglais du dix-septiernc i clc,"in louvements Premiers: . tude critiques offertes d George Poulei,pp, 9-25. Paris: Librairie [o eCorti.Copyright 19 2; actuall y printed in 19 3.R lates Donne' viewof the "in tant" or "moment" in his poetry to thoseof Plato. Plotinu. • Ari totlc, and Kierkegaard. uggests that "I'intuition del'instant situc Donne ~ un carrefour" (p. 18): he values both the: momentthat contains the eternal :1I1d the sensual pleasures oflhe moment becausethese pleasures arc valid in and for themselves, Suggests, then, thai "malgredes divergences profondes on pcut done d 'ccler chez Donne un rnouvemeritde l'csprit qui corte pond aI'cffort rornantique -d'incarncr l'eternitedan Ie temps» tel que I'll dcpeint George POlllet , , . mai Donne, encertains de .c poern cs profanes, . emble d i aisir l'eternite dan .on experienceper.onncllc du temps»" (p. 1 ).U!! 4 J6. f IP 'O " WILLI AM. "Rescuing Donne." in lust So Much Honor:•ssays Commemorating the Four-Hundredth nniversary of the Birthof lohn Donne edited by Peter Arnadeu: •iore, pp. 95-q . nivcrsityPark and London: Th e Penn lvania tate niver it)' Pre .Arguer that Donne ne d to be rued from "the habitual meanmindednc.of modern acad mic critici m. i moral emptine. combinedwitl: incessant moral nagging, and it rubbed prison-like i alation," and,in particular, argue that "the text of the love poems does literall needrescuing. at a mall number of crucial points, from the rece nt editiondi cd by Profe or Helen ardner (The Elegies and the Song and onnet[ xford, 1965 ])" (p. 95 ). Di agrees with a num ber ofCardner' interpretationof the man u. ripts and proceeds to defend older readings ofDonne's text, primarily thos ' found in ricrsons edition and in the fi rstedition, I efends the roup V manuscripts, claiming they were copied by.1group of late and apparently slovenly copyists who deliberately included111 the manuscripts \ ords and phrase that I onne in his later life ateruptedto correct or erase in order to avoid personal embarras. rnent,~ t that in his love poetry Donne wa influenced by idea derivedm the 'amil}' of Love and from the fanatical millenarian and rejects, . cholnrly mi r pre ntation" that Donne "never experienced love,nly engaged in daydreams about it after his marriage. 0 as to . ulkinsult hi wife" (p. 141).

101m Donne~9 4 17. ERS KINE- IIILL, H OWARD. "Courtier out of Horace: Donne'Satyre I ; and Pope's Fourth Satire of Dr lohn Donne, Deem of 51PUIII'S ersifyccl," in lohn Donne: Essays in Celebrat ion, edited byA. J. Smith. PI'. Z73-307. London: Methuen & Co.Argues that onnc' atyre IV i both a conscious imitation of and adeliberate departure from Horace', Satire I. ix. Notes that "not only i thcfir t half of at -re 1\ a recognisable imitation of Horace' encounter withthe Talker, but there arc cveral mall though clear cchoe of Horace'text" (I'. 276). mong the difference between Donne'sand Horace's poem.•stresses Donn e's fearful attitude toward the law, which i perhaps arcflectionof his recusant background. Points out that, although there werenum erou English Iran lations and imitation of Horace'. poem betweenthe 1 ;90 and the first decade of the eighteenth century, none was "sobold, extravagant and significant an adaptation as Donne's at)'re 1\r' (I'.293)' Discusses ill detail "the impressive human complexity" of Donne'spoem and argues that, "far from being a shapeless and over-long denunciation,this satire possesses an expressive unifying structure" (p, 306).Comments on Pope's brilliant, if not full y successful, imitation and suggcstsreasons for Pope's choosing to express hi own satiric comments 0 11the court through hi. imitation of Donne' poem, noting, ill particular,the attraction of I onnc' political daring, his u e of Christianity, and hicomic wit.~9 .p 8. EV ,'RErl', Bt\R BARA. Donne: A London Poet. ( hatterton Leelureon an sn Ii h Poet.) London: xford University Press, .,1p.Reprinted in PBA :; (1974): 24-- 73.Argue that I onnc was-"de pitc the ab tract habits of thought whichmight appear to di ociate him from place-a Londoner by nature a. wella by birth and breeding .. . at that crucial phase in thc city" histor,when it took on th character by which we recognize it 110\ .. (p. ,) andthat hi. being a London er add. "something to om understanding of himas a writer" (I'. :;). laintains. however, that in a less obviou and implecnsc London had fur Dunne a metaphorical meaning, since the cit)' \\'lISpreeminently familiar to him. how , for instance, that in at yre I Donne110t only makes detailed social observation on contemporary London lifeand manners but also makes "full imaginative use of the most metropol i­tan of Roman pacts" (p, 7), the satirists. Suggests that Horace and [uvcnal"helped Donne towards the half-casual re-creation of London in the imageof Rome nearly a century before the Augustans were to do it again"(p, 7) and that Pcrsius provided Donne with models of imaginary andinternalized dialogue. Examines a num ber of poems (especially aivre I... II his Mi lri ," "" alcdiction: forbidding mournin g," .. Lecture uponthe ihadow" "The anonization," and "The Extasie") to shov how Donn 'cons iousne of London and it life shaped his visiun and ensibilities• ecs many of the '0 1l8s and onet as London poems, "fi rst. becaus 0their hold on the dcn.c medium of actual ex-perience, which qualific .11

A Bibliograph )'o{ Criticismromantic abstracts; second, because of their author'sself-consciousness asan artist, his extreme awareness of him self in relation to a surroundingaudience" (p. 26). Note that the complex tone and sense of ten ion inmany of his poems has earned for Donne "the right to be called our first(perhaps our only) real master of the poetry of urban anxiety" (p. 13).~ .p 9. •VETIS-SECk1m, JOSEPHINE. "Henry Hawkins, S.J., 1577- 1646:A Recusant Writer and Translator of the Early Seventeenth Century,"Recusant Hisior» 11: 237- 52.Suggests that the Jesuit Henry Hawkins, tran later and writer of dcvotionalliterature. best known for his Pariheneia acra , was familiar withDonne's poetry. Points out that in his poems, Fuga Saeculi, Hawkin borroweddirectly from Donne,~ 420. FIORE, PETER AMADEUS. "John Donn e Today," in Just So IvIuchHonor: Essa )'s Commemorating the Four-llundredth Anniversary ofthe Birth of [ohn Donne. edited by Peter Amadeus Fiore. pp. 1- 8.niversity Park and London: The Pennsylvania tate Universi ty Press,Discus.e Donne's appeal to twentieth-century readers. especially "theremarkable ubtlety with which he achieves an effect in a poem, and thegrotesque images and metaphors which lie usc at the most unlikely rnomcnls"(p. 3). lIJustrates Donn e's ability to co nnect "diverse elements of apoem by the slightest manipulation of words and images which rc ult in adevelopment of sensibility" (p. 3) by comm enting on "/\ Valediction: forbiddingmourn ing," "T he Apparition," and " Valediction: of weeping ."llJu trates Donne's unique u es of the grote que by commenting on theimagery of Deaths Duell. "Batter my heart." and cveral sermon. .•~ •.\21. FI ORE, PETERAIADEUS, ED. lust So lvluch Honor: Essays Commemoratingthe Four-Hundredth Anniversary of the Birth of [ohnDonne. University Park and London: Th e Pennsylvania tate UniversifyPress. 29\p.ollcction of eleven original essay , each of which has been separatelyentered in this bibliography: (1) Peter Amadeu Fiore, "John Dorine Today"(pp. 1- 8); (2) Edward Le Comtc, "Jack Donn e: From Rake to Hushand" (PP. 9-32); (3) Roger Sharrock, "Wit, Passion and Ideal Love: Re­Oe lions 011 the Cycle of Donne's Reputation" (pp, 33-56); (4) GeoffreyBullough, "Donne: The Mun of Law" (pp. 57- 94); (5) William mpson,R tuing Donne" (pp. 9 5-\4 ') ; (6) \ eslcy I Iilgate, '''Aire and Angel 'J1 the I iscrirnination of Experience" (pp. 149 - 76); (7) David Daichcs,Reading of the 'Cood-Morrow'" (pp. 177- ); (8) Rosalie L. Colie,\11 in Pecces': Problems of Interpretation in Donncs Anniversary Poems"• I q-2 1 '); (9) David Novarr, '''The Exstasic': Donne's.Address on the(f l nion" (pp. 219-43): 10) John 1'. Shawcross, "All ttcst Hisan, nical: The Text. Meaning and Evaluation of Donne's atires"

lohn Donne(pp. 245- 7:); and (11) Joseph ine Miles. "Ifs, Ands, Buts for the Reader ofDonne" (PP. :z n - 91)·"d;~ 422. F ISH, STANLEY E . Self-Consuming Arlifacts: The ExperienceofSeventeenth-Century Literature. Berkeley, Los Angeles, London :Un iversity of C alifornia Press. xiv. .J.3 :zp.Pape rback edi tion: 197 4.C ontends that it is characteristic of certain seventeenth-century literaryworks, such as Donne's Deaths Duell, Bacon's Essays, Burton's The Anatom}'of Melancholy, Herbert's 'fhe Temple, Bunyan's Pilgrim's Progress,Milton's The Reason oiChurcb Covernmenr. and Browne's Religio Medici."first to involve the reader in discursive activlties-e-cvaluating. deducing.interpreti ng- an d then to declare invalid Of premat ure the conclusionsthese activities yield," th us resulti ng in "a disturbing and unsettli ngexperience in the course of which a reader is continu ally revising h is understanding,until, in some cases, the very possibility of understanding isitsel f called in to qu estio n" (abstract, in paperback edition only). Argu es.therefo re, that "these works arc self-consuming ill two direetions, for inthe course of unbuilding their own struct ures, they also unbuild the structureof the reader's self-confidence" (abstract. in paperback ed ition only).Mentions Donne througho ut. especi ally his sermons. and briefly contrastsor compares hi m with Bacon , Bu rton, Herbert, Browne, and Bunyan.C hapter 1. "The Aesthetics of tile G ood Physician" (pp. 1- 77), con tainsa subsectio n entitled "Donne: T he Word As All" (pp. 4 3- 77), in whichDeaths Duell is analyzed to show that the sermon is a self-consumingartifact. Maintain s that the ser mon succeeds "by calling attention to whatit is not doing, by transferring the burden it first assumes (the burden ofcontain ing and co mmunicating the truth) from the words on the page(wh ich are contradictory and circu lar) to the Word that is inscribed on theflcshlv tabl es of the reader's or auditors heart ," that is, it reveals the word"by r~ m o vi n g from om line of vision the structures that obscure it andcause us 10 forget it" (p. 69). Shows that Deaths Duell "serves us by refusing10 serve us, by failing" and points nut tha t Donne, no less than thereader. is "the beneficiary of this failure; for by fashioning words and sentencesthat poi nt only to their insu ffi cien cy, he displaces attention fromhis own efforts to the Spir it whi ch informs them ; and by em ptying his 'dependent un the Lord" (p. 69). Contrasts Donne's seemi ngly theatrica lbut essentially self-effacing art in the sermon with the stylistically selfdeprecatinghut finally self-glorifying art of the Puritan sermo n.,~~ 4 2.3 . F REEDMAN , WIll..IAM. "Denne's 'Lovers lnfinitcncssc." Expl ,1,Item 6.Explicates the exten ded finan cial con ceit in "Lovers iufinite nesse" and

A Bibliograpl,)' o( Criticismnotes hov Donn e play it ofT against a secondary and antithetical metaphorof organic growth and how he "achieve a conceptual ynthcsi (inboth cnses, i. e. of concept nd cone it) in the nnalline ," in which theper ona explain to his mistress that, "although a heart may not be completelygiven , ;) body rn a ' be, and although the mechanical exchange ofhearts will not join them, will not make them a single organic unit. theanimate joining of bodies \ ill:' Point out that. although the final transaction i still made in financial term s. the language and the spirit of themarketplace have been " upcr edcd b I a liberality more appropriate andmore adequate to the organic infinitcnes of true love.",~~ .P4. FULLER, JOliN. The onnei, (T he Critical Idiom, no. 26. gen .ed. John D. [um p.) London: Methuen & o. 5Sp.Comments on Donne's experimentation with the sonnet form and suggeststhat, like Milton. I onnc "pre ided over the general blurring of the'sonnet's musical form" (pp, 22). I is usses very briefly the structure of"Death be not proud" (p, 23) and comments on the unity of La CorollaIpp. 41-4 2 ).~~ 425. GAIUJN ER, l-h ~ LE N . "Donne's Verse-letter," TLS, 21 january. pp.68- 69'Disagrees with . [. mith' conclusion about the significance of thetext of the holograph of I onne' verse letter to Lady Carey (entry 507)'rgues that the variant in the holograph do not establish or call into[uestion the manuscript groupings and that the holograph" upports edianalconfidence in the reading f roups I and II again t Group III and.onsequently in the edition of 1633, which, a. Grierson demonstrated,\. based upon manuscripts of the c two group ," (p. 6 ). Comment all1C mbstan tive and accidental variants between the holograph and thethcr texts ami suggests that perhap Donne him elf may have made aOP) of the original and that it is the cop ' that i the source of the manucripttexis. ce 31 0 A. J, mith (entry 506) and I ~ L. Heyworth (entry37)'426. . John DOlll/e's Holograph of"A Leiter to the Lad)'Care)'and Mrs Essex Riche." London: . colar Man. ell, in conjunction withThe Bodleian Library, Oxford. I I p .ontains (I) a facsimile reprint on n separate sheet of Donne's holohof"" Letter to the Lad Care '. and 'Irs Essex Riche, From Arnyens"U III 16 3 edition) discovered in 1970 by Peter roft of Sothcbys amongfamily papers of the Duke of Manchester, which had been formerlyited in the Public Records ffi cc and is currently in the BodleianEn . Poet. d. 19 and (2) a eparate eight-page introduction by.ardner with a typ cript of the manuscript. Describe the manu -and 1 III tory and evaluate its relationship to other manuscript

101m Donneand printed texts. Argues thr t the poem is not a fair copy but was writtenout 3 . it was composed and ugge. ts that Donne very likely kept a copy inhi letter-book and that it i the copy that became the ultimate ource ofthe copies of the poem in surviving manuscripts and in the 1633 edi tion .uggests that, although the variants are light, the holograph confi rmseditorial co nfidence in the 1633 edition and the manuscripts it f01l0\\'t .>

A Bibliograph» ofCrilicislII~

John Donnethe hyperbole i such that the speaker seem vulnerable to his own disillusionmcntrather than a worldly cynic" (p. I \ 1 ).~ 4 p . H A, 'S OMBE. C Il. L1A ~ . "John Donne and the Writing of Lyrics."tudies in NIl/sic 6: 10-26.Discu e how rnos of Donne's poems break with the traditional valuesof lyric poetry and argues that most of them are "unsuitable for melodictreatment for reasons other than whether or not they are good poems" (p,26). Discusses in orne detail "The triple Foolc'' to 'how that "if Donn edidnol write lyrics, it was not necessarily because he did not understandthe req uiremen t, of a . ingi ng line. but per hap: more because he wishedto explore other avenue , the power of poetry to yield awarenc - and itspropertyof regulatin g into consciou ness thc mute demands of strong feeling.. and also to how Donne's "method of u taining one ct of att i­tudc.- nonchahmcc, whimsy, playfulness- while at the same time deliveringa .criously consid 'red point," a method quite different from the lyricist.who "looks to a m lodic line to establi h the point" (p, 14). Comrnenalso in detail on "Song: Sweetest love. I do not goc" along with the musiuletling of thc poem found in ;,,1 \ 01 (f.44b) of t. ~ lichael' Collegeto how that the music is only a dramatic citing for a poem that i "alreadycomplete within its own term. " and "therefore does not need a melodicexpansion" (p. 25).~~ -+ ~ 3. H ARDI. G. I . \- . "T he Devotions 'ow," in Joltn 1 anne: Essarsill Celebration , edited by A. J. Smith . pp. 385-4°3. London: Methuen& Co .Arguc. for the relevancy of the Demtions upon Emergent Gccasions forthe twentieth-century reader. even if he docs nol hare Donne's religiousfaith ami sen ibilitics, Point out that the Devotions offer a convincingpicture "of an intcllc ·tually subtle and a strongly emotional man strugglingwith problem that still a ail us" and argues that Donn e' encounterwith sickness. sin, and death "can bc rccogni ed a. human experiences bypeople of different religious faith or of none" (p. ., 5) but will still peak1110 t directly to those "who have felt de pair and horror at them elve andtheir waste of life' (p, 386). Presents a critical reading of the f) el'otion~.onuuenting on slru .turc, imagery, tone, and themes. Likens Donne'smethod of free as ociation to modern psychoanaly i and hi. technique luthat of eventecnth-ccntury sermons and stre ses Donn e's emotional honty.hi capa ity for personal self-revelation, hi robust and vigorou mind.his respect for the bod)'. and his interne fear of separation from those thathe loved coupled with a keen awareness of his need for others. I'.mpha­.ize throughout thaI, although xpre 'cd in his own hristian idiom."the whole plan of the Devotions gives the religious cone 'pts a linn uuchoragcin human vents and emotion " (p, 401 ). Concludes that. f( r

A Bibliograph y of Criticism 157Donne, faith in redemption convinced him "that his self-condemnationneed not and must not be total and final" (p. 401 ).~ 434. H ARDY, BARBARA. "T hinking and Feeling in the Songs andSonnets," in fohn Donne: E a)'S in Celebration, edited by A. J. rnith,pp. 73- . London: l lethuen & Co .Reprinted in The Advantage of Lvric: Essays on Feeling in Poetry(Bloomington and London: Indiana Univer ity Press, 1977), pp. 18-32.Points out that Donne's dramatic lyrics "renew, recreate, and accessiblyrecord the life of the pa sions. keeping faith with the way the passionsgrow. move, shift, com bine, and relate to intelligence and sensation" (p.73). Argues that "lyric creates a language for the passions by not naming,by showing those limits and falsities of naming" (p. 73). Examines threegroups of Donne's poem to show the range. variety, and complexity of hispassionate lyrics: (I) "Loves growth," a poem of satisfied and secure iovethat shows Donn e's "capacity for dropping and picking up wit and fancy,or to put it another way, for using fl ights of wit and fancy audaciously,simply, and always passionately" (p, 77); (2) several poems of hostility andfrustration, such a "Love diet," '''I'he Blossome," and "The Legacic,' inwhich "destructiveness is shov n as the other side of love, in the poeticprocess" (p. 80); and (3) " Valediction: of my name, in the window" apoem repre cntative of tho e poems which PO " ess "a rare and highly di"­turbing quality, which belong to and imprint that kind of passionate experiencewhich join extreme. which feels the momentary truth of po ­ession with the po sibili oflos. thc expectation of denial at the time ofrecognition" (p. 84). how that in Donne's poem. "we have a specialsense of the exposure of human beings in their relationships": that we fi nda U en e of pride. triumph, delight and power, felt by the artist but onbehalf of a prowess and energy larger than the experience of art": and thatwe ense "wit as the overflow of artistic power, creativity exulting andscattering its energies, in a virtuosity which is never merely virtuosity" (p.r J.•~ -1-35. I-!AWKE", T ERENCE. "Donne and the Compasses," in Meia/J/lOr,pp. 18-22. (The Critical Idiom, no. 25, gen. ed, John D. [urnp.)London: Methuen & Co .Comments on Elizabethan attitudes toward metaphor and suggests that,for them, the main function of metaphor was "to reinforce an established-iew of the world, certainly not to challenge or question that view byr eansof particular 'local' or 'singular' insight" (p. 20). Points out that theain concern of the Elizab than metaphor "seems to have been to inlveIts audience in an abstract process, and to make it participate therein,"nlik modern metaphors, which "try to deliver their good in one irnrneate'handing over' which i complete in itself" (p. 22). Di cusse brieflyme's u.e of the compa s in "A alediction: forbidding mourning" to

John Donne'how thaI the metaphor is decorous and uited 10 the subject of the poemand is in no way shocking or original.~ .+36. HE.."'RICK Et'l". BRUCE. "Don ne' Orthodoxy " T LL 14: -- 16.Maintains that an examination of Donne's sermons reveals that he wasnot a my tic ami that he "repeatedly pre ents an orthodox and conservativemessage which he himself .ees as being opposed to any religious po itionthat would embrace mysticism" (I'. 5). Suggests that, like t. Augustine,Donne came to realize that mysticism "is a threat to orthodox religiousinstitution. to the established church" (I'. 10). Points out that Donne'sextensive u e of marriage .ymbolism in his sermons, as well as in certainof the divine poems, "reveal a fundamental difference between Donneand the mystics, for he . peaks of the marriage of Christ to the Church,not to the individual soul directly" (I'. ). otc that, although the per onain "Batter my heart" seem to yearn for mystical experience, this does notmean that Donn e actually had one and notes further that in "Show medeare Chri t" Donne "clearly expresses the idea that Christ is married tothe church rather than to the individual soul" (I'. 9). Stresses that Donne,like Hooker, consciously defended the established Church against privateand schismatic form of prayer and worship and that he "spends much ofhis time in his sermons defending the specific merits of the sacramentsand ceremonies of his Ch urch" (I'. 14). Argues that rejecting the imagesof Donne as the "naughty boy" of the ccular poems and a the mystic willallow u "to see and appreciate what i. continuous in Donne's work-theexamination and acceptance of the traditional values of hi ociety, firston the private level and then on the public level as Dean of St. Paul's"(PI'. 1--16).~ 437. H EYWORTH , P. L. "Donne's erse-Letter," TL , 24 Murch, p.337·Com ments on A. J. Smith" account of Donne's holograph verse letterto Lady Carew (entry 507) and regret that mith resigned the field sopromptly in his reply (entry 506) to Helen Gardner's objections (entry4z5 ). Qu estions Gardner' assumption that the holograph "may be not afair copy but the original. written in currenle calamo" uggcsts that perhapsDonn e sent a copy to Lady Carew and kept the original and thus theBodleian holograph would not be the single source of all variant versions(as Smith sugge. ted) but rather itself a variant version.~0 438. HlRABAYASHl, Jme . "John Donne to Sono nglicanisrn" [johnDonne and His Anglicani rn], Kiyo (i\: [imbu n / hakail (KyotoK 'oiku Daigaku), no. 40 (February): 77-95.Argues that Donn e's conversion to and defense of Anglicanism was entirelysincere and that he would 1I0t have considered hi. conforming tothe English Church a an act of apo tasy from the apo. tolic, atholiChurch. Points out that. although his ense of personal unworthincs: and

i\ Bibliograph ' of Criticismof in became more apparent to him a he grew in the spiritual life, thereis nothing to suggest that he was a very wi ked person nor an apostate.Survey' Anglican attitudes during the period 011 the nature of the hutchand con ludcs that Donne's views arc in harmony with Anglican thought.~

John Donnepoems Renaissance satire "appears at its brilliant best: playing directly toIh reader' response , making vivid and particular instances of folly whichin Ie er poem are mere items in a catalogue. presenting the infectiousidioeie. of the contemporary .ccne with a vitality that remain per ua ive"(P· 4° ).~L5 44 2 . IHA, MOH . The Phoenix Riddle: All Interpretation and CriticalTreatment o{Donne's Lore Poems. New Delhi: Arya Book Depot.VI, 1471'.haptcr I, .. onncs Reputation as a Love Poet" (PI'· 3-:l.I ), brieflytraces [ onncs reputation as a love poet from the cventeenth century tothe I930S. C hapter z, "Classificatiou of Donne's Love Poems" (Pl'. :!. 5­30), reviews variou: attempt to classify the love poems (Grierson, Leishman,Redpath, and Gardner) and concludes that on the basis of tone theycan be divided into three groups, as the)' are in chapters 3, 4, and 5.Chapter 3, "Poems: Cynical or Outrageous" (pp, 31- 47), discusses brieflythose poems in which Donne deals with Jove as physical passion anduggests that Ovid may have been his starting point but that his usc ofdramatic technique. , argurn 'Illative structure. paradoxical wit, and ironygive these po irn a di tinctivc I onnean independence. Chapter 4 , "Poems:Courting or Intimidating" (pp. 4 - 3), discus es those poems in whichthe lover attempts "to bring round hi mistress entirely to himself throughAattery. compliment or threat" (p. 4 ) and tre res that, although Donneu Petrarchan clement, he give' them his own particular lant, Chapter~ , "Poem : Happy or Contented" PI'. 4- 112), comments on poems that"celebrate the glorj of mutual love" (p. 84). Chapter 6, "Concl usion" (pp.I 1,- 17), summarizes thc preceding chapter; defends Donne against thecharge of being pedantic, ob cure, cynical and antifemini l: tresses thatDonne' poem ar a unique blcnd of tradition and individual talent; andmamtain tha "the uniquencs of Donne' love poetry lie in it combinationof varlet and inten ity, in its a sociation of thought and feeling"(I'. 117)· App ndix (pp. I :!. t- :!.4) surveys the scholarship of Grierson and.iJ rdner on whether or not "Julia," "A Tale of a Citizen and his Wife,""Selle Love," "T he Expo tulation '1 "Variety," "Sonnet. Th e Token." and"His parting from her" should be attributed to Donne . I lotc and references(PI'. I :!.7- .13 ) and iclcc ted bibliography (pp. 144- 47).~ ~ 443. JURAK. lnuco, cel . "The Stuart ge," in English Poett»: /\11Antholog)1with A Critical and Historical Introduction (or ForeiznStudents, pp. ~3-90 . Ljubljana: Drz..avna Zalozba lovcnije.Presents a bri f general introduction to seventeenth-century nondramuticpoetry especial] ' metaphysical poetry (pp. ;3- 55). followed by eightselections from I anne (pp. 55- 69) with brief notes. glossaries, and question. Include .. ong: Coe, and catche a falling tarre." "The unne RI .ing," "Twicknam garden," "'[11c Dreame,' "The Apparition," "Going toBed." "Death be not proud," and "Since he whom I lov'd."

A Bibliouraph ' of Criticism~ ~ 444- KAWA IURA, JOICHmO. "Christ no Hanayorne \\ ~ I Dare ka?­Donne 110 hukyo-sh i (ppm II ronzu " [Who Is Ch rist" pou c ­n I' say upon Donne' Holy onnet " how me . . :'J. Gcmgo Bunka(Hitot ubashi Daigaku), 9 (I [ovembcr]. 49-66.Presents a surv 'y of recent critic»III on Donne's "Show me deare Christ"and offers a detailed critical reading of the poem, commenting especiallyon I onnes concept of the Chu rch.~ .. 44 5. K EElIl.h, ' . H. " he Love Poet of John Donne." Lang 'L(Copenhagen) 1. iii: 7- 19.Believes thaI modem critics have verratcd Donne as a love poet. Arguesthat. although Donne's love poetry "give fine expre sion to a greatvariety of experiences and reveal the worki ng of an extremely ubtle mind,th ubtlety of that mind never extends to evalua ting tho e .xpcricnces"(p. 17). Admits that "no other English poet has treated so many kinds ofsexual relationship, nor dealt with so many moods of affectio n" (p. 9) butconcludes that, although Donne is "capable of intense seriousness, e nicalfrivolity and piercing insight," he is "uncapable of ustaincd thought"and i "never so bold as to reAe t. elec t, prefer" (p. 1 ). Claim thatDonne' love poetry is flawed by a kind of "moral i e lation" and that forall hi. superf ial use of learning, he "was intellectually indifferent to allmetaphysics" (p. 1 ~ ) . Maintain: that Donn actually shows little interestin a true love relationship but rather Iocu cs almost entirely on himselfand that hi dominating rna culinc tone actually tends to degrade women.~9 446. KmI\IWnUCK, HUGH . "Donne's ' Upon the Annunciation andPassion Falling upon On e Day. 16 0 8 .' '' Expl 30: Item 39 ., hews bow "T he Annu ntiation and Pas. ion" is built upon a series ofparadoxes and ambiguities and uggests that the major paradox i symbolizedand re olved in the figure of the circle. "perfect and yet paradoxicalIn that it ha no beginn ing and no end." Explain. how finally the figureoflite circle becomes a "symbol of Chri st's life and man'. life, of the unit 'f birth and death and of all beginnings and endings. and of the de truetionof time by eternity.""9447. KISIIIMOTO, YOS HIT AKA. "Donne no Holy Sonnet (1633) 10 ­Giko to Knnjo noChowa" [Donne's Holy Sonnet la- On the Harmanyof lis Technique and Feeling]. Baika Review (Baika Joshi Daigaku),no. 5 (I larch): 1-) I.1', cnts a 10.c critical analy i of "Batter my heart" and tresses theion hip between its structure and technique and its unu sually pow­IIemotional intensity.---. "Donne no The 'i rst Anniversary Shiron" [An s ayn Donne's he First Anniversary]. Kiyo (Bungakubu, Baika JoshiDaigaku), no. 9 (December): 1- 17 .

John DonnePresents a general critical reading of The first Anniversary and pointsout that Don ne performs an "autopsy" on the world, the cosmos, the newphilosophy, and himself in his search for the ideal spiritual world.~ 449. KRASAVCHENKO, TATY A ' . "T. S. Eliot i Dzhon Donn" [T.S.Eliot and John Donne]. Sbomik nauchnykh rabot aspirantov KBGU[An Antholog)' of Scholarly Works by Graduate Students at theKarbinian-Balkarian State University], vol. 3, part 3 (Nalchik, n.p.),pp. 53-95·Discusses Eliot's service in bringing about the belated recognition ofDonne and relates the similarities in their poetry to similarities in theirsocial and intellectual milieux.~ 450. KRE lEN, IG\THRYN R. The 1magination of the Resurrection:ThePoetic Contin uity ofa Religiou«Motif in Donne, Blake, and )eats.Lewisburg, Pa.: Bucknell University Press. H4p.Discusses the continuity of the resurrection motif in the works of Donne,Blake, and Yeats and shows that the motif, which begins as a religiousdoctrine that reveals the mystery of man's redemption. becomes for theRomantic poets a recreation of the imagination. Maintains that "withoutontological certainty of divine redemption and without shared (across timeand across persons) access to its public forms (the Bible, liturgy, and doctrine)authoritative symbolization of an essentially religious subject (sa l­vation) is not successful" (p. p o), as exemplified by Yeats. Chapter 1,"The Origins and Development of the Resurrection Doctrine" (pp. 29­79), survey. the origin and development of the doctrine of resurrection inthe Old and ew Te tarnents, the Apocrypha and Pseudocpigraphia, andin post-Apostolic theology from the first century to Luther and Calvin.Chapter 2, "The First Resurrection in Donne's Religious Prose and Poetry:The Whole 'World's Contracted Thus" (pp, 80-1 29), discusses Donncsview of resurrection as reflected in his religious prose, divine poems, andlove poetry and maintains that he i quintessentially rcpre entative of post­Reformation theology and Christian symbolism. Argues that in his lovepoems he incorporates the doctrine of resurrection by presenting eroticlove as a figura of eschatological reality and shows how his developmentof the relationship between the erotic and the eschatological differs fromthat of Shakespeare and Marvell. uggests that the main difference "arisesfrom Donne' essentially religiou view of sexual love" and notes that forhim "the reo urrection in soul and body to heavenly union with the Trinityanctifies both sacred and profane love relationships" (p. 96). Commentson Donne's theology of love and marriage as seen in his sermons andpoetry and shows how "the Christian doctrine of resurrection nol onlysanctions Donne's incorporating the erotic into the eschatological in ;]11­arnnetic relation, but also gives him 'metaphors for poctry" (p. 98). Commentson the relationship of the erotic and eschatological specifically ill"A Valediction: forhidding mourning," "The Extasie," "The Sunne Ris-

A Bibliography o(Criticisming," ami "The Cano nization." Comments on the resurrection motif inDonne's specifically religious works, especially "Batter m y heart," "Showme dearc Christ," "Hymne to Cod my God, in my sicknesse," "At theround earths irnagin'd corners," "Coodfriday, 1613. Riding Westward,'the two Anniversaries, and Devotions upon Emergent Occasions. Chapter3 (pp, 129- 259) and Chapter 4 (pp. 260-307) discuss respectively theresurretion motif in the poetry of Blake and Yeats and contain cornparisonsbetween them and Donne. Chapter 5. "T'ost-Mortern': Very LastTh ings" (pp. ,08- 24). summarizes the basic argument of the stud ' andstresses again that Donne and Blake are Christian poets whose symbolismis authentic becau e they believed in eschatological reality while )eatsfailed "because hi ecular system includes no transcendent divine realityand no eschatological symbol, which participates in it" (p. 318). Bibliography(pp. 32;-37) and index (pp, 339 - 44) .~ 451 . KUSUNOSE, T OSHIHIKO. "T he Satires ni okeru John Donne" [JohnDonne in The Satires]. Ronko (Ka nseiga kuin Daigaku ), no. 2 J (Dccernbcr):95-1 15.Cited in "The 1972 Bibliography: ' The Renaiesance Bulletin (The Renaisance Institute. Tokyo) 6 (1979): 1 . navailable,~ 452. LEACH, ELSIE. "T. S. Eliot and the School of Donne." Costerus3: 163- 80.Summarizes the shifts in Eliot's critical position toward the metaphysicalpoets and argues that "the changing emphases of Eliot's criticism paralleldevelopments in his own verse" (p. 163). Shows how after 1931 Eliotevidences an increasing enthusiasm fo r Herbert a ' his interest in Donne,Marvell, and Crashaw diminishes. Show that at first Eliot regarded Herbertas Donne' inferior but from 1944 a ll he championed Herbert as amajor poet; stressed Herbert's affi nities to Donne, not his differences; andfinally preferred Herbert to Donne.'4~ 4; 3. LEBANS. W M. "Donne's Anniversaries and the Tradition ofFuneral Elegy." ELl-I 39: 545-59.Regards "A Funcrall Elegie" as important to an understanding of theAnniversaries and argues that an examination of the elegy and Donne'sEpicedes and Obsequies in general in relation to the Anniverwries "suggeIs trongly that both the latter arise, at least in part, out of the traditionof funeral elegy based on classical models which Donne adapted to hiOWIl purposes and modified in his charactcri "tic way" (pp. ;45- 46). ExaminesDonne's funeral elegies of a private character. written before andafter the Anniversaries, to show that they "are conceived and written interm of the conventions of non-pastoral elegy which Donne derived fromhi knowledge of the classical models of such elegies and from the preriptionof the classical rhetoricians' and that in all of them "the threebasic clements of all funeral elegies are easily observable: lament. eulogy

John Donneand consolation" (p. 546). Presents a close reading of "A Funerall Elcgie''to show how Donne "manipulates a cries of traditional themes to hi ownadvantage" (p. 547) and out lines the structure of the two Anniversarie toshow that it "confirms their relationship to Donne's funeral elegies andthus to the classical predecessors" (p. 550). Suggests that the death of ElizabethDrury was an occasion for Donne to give "poetic form to hi. attitudesto a world that was going to piece: around him and to hi idea ofeternity and eternal life" (p. 556). rgues that the "she" of the poem i notsapientia creata, Elizabeth I, idealized woman, the irgin Mary, nor anyof the other possibilities suggested by modem critics but is Elizabeth Drury,transformed and real, and thus the poems "weave back and forth betweentransfiguration and reality in an extraordinary but nevertheless recognizableseventeenth-century fa hion' (p. 5- 9). Suggests that Donne wa "deliberate!etting out to upset the convention that a public elegy couldonly be written on a public figure" (p. 559).~ 454. . "The Influence of the Classics in Donne's Epicede.~ andObsequies." RES n.s. 23: 127-37,Argue that the direct infl uence of classical sources on the structure ofDonn e's nonpastoral funeral elegies, written between 1596 and 1625, ishighly probable since the poems, "in spite of their conceits and othertypical cha rac teristics of the metaphysical mode, u c a their basic principleof tructure the classical organ ization into lament, panegyric, andcon ela tion. and exploit the e elements in a fashion which fully dem onstrateshis knowledge of the classical models and the prescriptions of therhetorical treatises" (I'. 128). Argues further that the direct influence ofthe clas ic on specific words, ph ra es, images, and allusions in the funeralelegies is likel r only in some cases, ince "the greater part of theseallusion arc either Renaissance commonplaces or derived at second orthird hand from their original classical sources" (p. 130). Maintains. however,that Donn e's governing conceit of a Roman triumph in the secondhalf of" bscquies to the Lord Harrington" suggests very strongly thal heconsulted directly several lassical sources for his details, Totes that "inthose ca es when clas ical influence. can be proved or reasonably a ­sumed, the classical authors on whom Donne relics are not those regularlydrawn011 by contemporary poets:' which, in itself, gives "additionalcredibility to the argument for classical infl uences" (I'. 197).~ 4 55. LE Coxrra, Em ARD. "Jack Donn e: From Rake to Husband."in Just So Much Honor: Essays Commemorating the Pour-HulldredthAnniversary of the Birth of John Donne, edited by Peter AmadeusFiore. pp. 9-32. University Park and London: T he Pennsylvaniatate University Pre s.Reprinted in slightlj revi cd form in Poets' Riddles: Essa)' in eventeenthCentury Explication Port \Va hington, .Y.. and London: K 11­nikat Pres.. 1975), pp. 44-66.

A Bibliography u(CrilicismConjectures that Donne ami Ann J lore were not married secretly inDecember 1601 (N.S.), as Donncs letter to his fa ther-in-law Gcorge More,states, but that the marriageactually took place sometime in January' tOO:!( .5. ), at which time Ann was already pregnant. Suggests that Donnepredated the marriage in order to protect his wife's honor and also to guaranteethe legitimacy of their first child, Constance. Argues that RichardSwale, the judge who fi nally validated the marriage on 27 April 1602, leftthe exact day in January purposefully vague so as to allow the couple asmuch leeway as possible. Suggests also that the premarital union of thecouple was "not an evasion of, but a way into marriage" since "it strengthenedtheir legal claim on eac h other" (p. 20). Reviews various aspects ofDonne's youthful libcrtinism but questions whether these justify callingDonne a rake.~ 456. LEVER, WA LT E1 ~ . "Phallic Fallacies in the Bower of Bliss." WCR7, no. 1: 62 - 63.Points out that the word eye could mean "testicle" in Elizabethan Englishand suggests that in "The Extasie" (lines 7-8) '''eyc' signifies testicleand 'eye-beam' the erected penis" (p. 63) . Concludes, therefore, that thelines mean that, "with intertwined genitalia, frozen on the high plateauof excitement like climbers on some Alpine ledge, Donne and his boyfriendcould neither get up or down. but were fixed in a state of .exualimmobility" (p. 63 ). ugge.ts also that "a new concoction" (line 27) referto orgasm.~ -+57· i\kADA I . JAMES R. " I lixed Success." JCE :q: 206-13.Review article of Peter Amadeus Fiore. ed., Just 50 Much Honor: EssaysCommetnoratinethe Four-Hundredth nnivetsa ry of the Birth or JohnDonne (entry -+21). Finds the collection "disappointing in details of conceptionand execution but well-intentioned and valuable overall" (p. 206).~ -+58. MACCOLL, ALAN . 'The Circulation of Donne's Poems in Manuscript,'in John Donne: Essa)'s in Celebration, edited by A. J. Smith,pp. 28-46. London: Methuen & Co.Surveys in detail the existing seventeenth-century manuscripts of Donne'spoems and also the manuscript miscellanies in which his poems appearedto show that few of Donne's poems reached a very large audience in hisOwn lifetime and that the majority of them scarcely began to circulate tonny great extent until well into the second decade of the century. Pointsout that only the Satyres. Elegies, and "The Storrne" and "The Calme"were very much circulated in the first decade of the century. Suggests,therefore, that "it should no longer be possible to speak without qualificationof Donne's 'great popularity' as a poet" (p, -+ 3) during his own life­'me. _ otes that Donne rarely gave out copies of his single poems, except~ I the verse letters and occasional pieces; that he consciou Iy avoidedublic attention as a pact from the beginning; that he fully regretted the

166 • [197::] John Donnepublication of the , \ n ni "e rsa rie.~; and that he was fully "aware of the dangersof exposing poems written for a circle of like-minded reader ' to thepublic gaze" (p. 44) and only twice allowed large collections of hi poemsto leave hi. hands. Show that it was only from about 1625 until the mid­16405 (and especially after the first edition of 1633) that the poems howup in any great numb er ' in the manuscript miscellanies and then onlycertain POCIll were regularly reproduced. Points out that after 1650 "theAood dwindles to a trickle" (p. 45). Concludes, therefore. that Donn e was,in a ense. "a 'cote rie poet' not because the public did not appreciate hiwork but becau e for a long time it was available only to a small numberof readers" (p. 45).~ 459. M CC OWAN, MA I{GA R I ~T M . ''' As Thro ugh a Looking-glass';Donn e's Epith alamia and their Courtly Con text," in John Donne:Essays in Celebra tion, edited by A. J. Smith, PI'. 175-2 JS. London ;Methuen & Co .Argues that I onn c s verse letters and especially two of his epithalamia"should be studied 110t as anomalous and extravagant pieces but as thenatural expressions of a highly self-conscious and literate society whichgenuinely believed itself to be exactly as its spokesmen depicted it" (I'.175). Argues that "the particular character of Donne's Epithalamia emergesonly when the poems are studied within the context which inspired them"and that, conversely, "thi context can only be defined with any accuracyby a study of the individual works which comprised it at anyone momentof time" (p. 217). Discusse in detail the structure, tone, language. andimagery of "An Epithalamion, Or mariage Song on the Lady Elizabeth"and "Eccloguc 1613. December 26" to show that, although the two poemarc quite different, the)' arc both very much "products of the robust atmosphereof James 1'. Court" (p. 176). Attempts "to convey an idea of thespirit of James I' Court, and of the criteria of expectation assumed by poetand aud iences alike" and examines the epithalamia "against the backgroundof other poems, plays, and masques written to celebrate the arneoccasions" (p. 177). Concludes that "participation and celebration arc keyconcepts for a proper understanding of any poetic work of this period whenit was the social context, above all, which determined the form" (p, ::?1 7).that during the period "poet and reader consciously shared certain assumptionsabout language and metaphor, so that images could . irnu llaneouslyprovide not only a vehicle for general expression which could heimmediately comprehended, but also a means of making more privatecommen t" (p, 217), and that "the techn ique of generalising . . . was theprinciple way in which 'court' poets-and Donne is one of them- solvedthe problems po cd by being bidden to write for a particular occasion" (p.218).~ 460. M AHO Y, PATRICK. "T he Structure of Donne's Anniversaries aCompanion Poems," C enre 5: 235-56.

Call the I\ nni\'crsarics"the mo t pectacular companion poem of highcaliber in ' nglish litcralur " (p. 23- ) and attempts to how that their interrelationship"i rnanif t in their general thematic balance and, evenmore remarkably. in the . irnilariti and antithese of their corre pondingsection ,. p. 23;). ' hm that "not only arc there correspondences betweenthe introduction and conch. ion of both poem. but there i al 0a re pective corre pond nee between the five meditation . eulogie andmorals of F with the hr. t five meditation , eulogies and moral of A:'resulting in "a network of modulation , internal allusions. and ironic echo .without which the bipartite masterpiece ha never been fully understoodor aesthetically appreciated" (p. 236). uggests that in some \\, Y the poem"parallel Petrarchs Ca nzon ieri, in which the earthly Laura. who i a givensocial tress, lands off, gain t the heavenly Laura. who is given an individualaccent" (p, 252),~~ 46 1. IvL\RTlN, F. I AVID. "Literature and Immanent Recall," in Artand the R el ig i (JlI .~ FXf)ericllce: The "Language" o{ the Sacred, pp.183-227. Lewisburg, Pa.: Bucknell University Press.Comments briefly 011 Donne's u e of various poetic device in the fi r tfour line of "Batter my heart" to how that "the cumulative power of thesedevice i iconic with the central de ignativc meaning of the quatrain andthe po m as a whol .. and to demonstrate that "all the meani ng. withtheir extremely tight interrelationships. converge around the symbol of the'three per on'd C od'" (p. 206). J laintains, however, that la accios vi ualymbol of the thre -p r oned Cod in hi painting Trinity "i likely to holdour att ntion more tronglj than Donn ' verbal ymbol" (p. 207).•~~ 46::. i\hml.' , PET 'R ' . "Prai e and Blame in Renai. ancc Ve eatire." PCP : 49-53.ugge ts that the central a sthetic problem facing the Renai ancc ver eatirist "lay in resol ing his ba ic impul e to praise and blame into anintegrated poetic chcme" (p. 49) and argues that Donne. through thethematic and truetural integrity of his atire . solves the problem. Maintainthat "in combining the positive and negative statements \ i1hin eachalire, Donne integrated the entire design of his collection" and that "withone impulse strengthening the other the conception of truth and virtue isnot blurred but sharpened by the analysis of falsehood and vice" (p, 52).Contrasts Donne with Th omas Draut.46 ~ . M ENA eE, ' THER. " tote u ..Ignatiu his Conclave.., in Studi~ l a ch ia \'e llia n i ( niver ita dcgli tudi di Padova, Facolta di eeonorniacornm .rcio in Verona), pp. 473-521. Verona: Palazzo C iuliari.I' xamine Ignatius his Conclave in relation to contemporary interpreionof 1 ·lachiaveIli's work . ttempts to determine what knowledgenne could have had and what opinion he held concerning Machia-

168 John Donnevelli. uggests three possible ources: his studies at the university: his contactwith certain p r.ons who were familiar with Machiavelli' theories,especially Sir Walter Ralegh: and the theater, in which the p cudo­Machiavelli wa a popular character. Discusses in detail Denne' relationshipwith and opinion of the Jesuits. Analyzes the text of Ignatius, COIllparepeeche by Machiavelli in the satire with passages from I Di.corsiand 11 Principe, and attempts to determine, by means of the accusationsof the character of lgnatiu , whether Donne had first-hand knowledgeand/or an accurate understanding of 'Iachia\'elli's doctrines. Concludesthat Donn e probably had read both I Discorsi and II Principe. at least inpart. Indicates that ince Ignatius is a satire, it is difficult to determinewhat attitude Donne actually had tov ard Machiavelli. Maintains, however,that despite his representation of Machiavelli as a villainous politicianfor artistic purpo es, Donne appears to have understood and respectedmany of his ideas.•~ ~ 464. MERell " r, W Mozi.wv . "Donne's Sermon to the VirginiaCom pany, 13 November 1622: ' in 101m Donne; Essays in Celebration,edited by A. J. rnith, pp. 433- ; 2. London: Methuen & Co.Pre:cnt. the historical context of Donne's sermon to the Virginia Companyon J " ovcmbcr )622. Comments especially on Donne's letter toir 11101113. Roc of ) December 1622 a helpful in estimating the toneand temper of Donne' ermon. Show that, although Donne was alwayswilling to be judicious in theological matters where that wa demanded ofhis office and alway diplomatic in regard to political powers where thatdid not in any waycompromise him as a Christian preacher, he wa neverwilling to uppre the truth as be saw it. Comments on the careful rhetoricalstructure of the ermon to the irginia Company, its restraint inthe light of the emotiona lly charged issues confronting the company andits extraordinary wit: "I anne was walking delicately: he spoke in a situationin which hi anti-papal feelings, focussed upon Spanish relation. inthe New World, were engaged in making a political statement which couldscarcely please the king; and at the same time he preached word of COIllforIto the businessmen of the Virginia plantation while yet deploring theirharsh reaction to the massacre [of white settlers by Indians]" (p. 4•.q).Shows how skillfully Donne weds in complete sincerity sound Christianteaching and support of the king by urging the company to lend the lndiansto a love of the ki ng who has sent such honest, loving men to civilizethem and to leach them to adore the King of Kings: "Rhetoric was herethe temporary servant of a political situation, as in the great prea her. itregularl . has been" (p. 452 ).~~ 46;. li LES, [o "PHI E. "Forest and Trees; The Sense at the urface."LJ-I 4: 35-4;.Reprinted a 'T he cnse at the Surface," in Poetry and Change: 0 01111 •

A Bibliography of CriticismiVlilton, Wordsworth , and the Equilibrium of the Present (Berkeley, LosAngeles, and Lond on: University of Ca lifornia Press, 1974), pp. 7- 22.Contrasts briefly the elements of design in Dorine's "Oh, to vex me ,contraryes meet in one" with those in Milton' "When I consider how mylight is pen t" to show that in Donne's sonnet "surface design i a steadytool throughout: line-end enforced by rhymes; the rhymes parallel inmeaning .. . ; a structure . hiftcd between octave and sestet" (p. 39). Pointsout Donne's u c of parallelism, repeated subordinate clauses, and irony,and main tains that for him "a tight design is part of the air he breathe s,the art he works in" (p. 39)'~ 466. . "lfs, Ands, Buts for thc Reader of Donn e," in [us! SoMuch Honor: Essays Commemorating the Four-Hundredth Anniversaryof the Birth of fohn Donne, edited by Peter Amadeus Fiore,pp. 273- 9 1. University Park and London: The Pennsylvania StateUniversity Press.Reprinted in Poetry and Change: Donne, Milion, Wordsworth, and theEquilibrium of the Present (Berkeley, Los Angeles, London: Un iversity ofCalifornia Press, 1974), pp. 6;-83.Comments on the characteristic patterns of usage, the simp le content,the majo r vocabulary, and the structures of Donne's poetry in an attemptto show that a quant itative and structural analysis will "show the readeron what firm ground of actuality in the text some of his reactions mayrest" (p, 274). Argues thai an ana lysis of Donn e's vocabulary and struct ureindicates "how the specialization of his structure in subordinate propositionsand the specialization of his reference in cognitive terms makes abond which relates sixteenth century poetic substance of Wyatt and Sidneyto the seventeenth century poetic grammar of Jonson and Herrick,Carew and Cowley, and goes beyond it all to an encornpassable realm ,where it is no wonder no one follows" (pp. 275-76). Discusses such mattersas Donne's use of "a vocabulary of concept distinguished by its concernwith time, cognition. and truth, positive and negative" (p. 274); hisuses of the terms of forma! logic, descriptive relative clauses, and activeprepositions; his use of strong verbs and clausal connectives for verbs,which separates him from "all other poets by its singularity an d also affordsa scale of approximation for affi nitivcs, by which we may see Jonson ,Herrick, and later Coleridge as closest to him" (p. 275); and his extraordinaryability to use the complexities of logical argumentation. Maintainsthat "his chief con nectives arc and, but, that, to, in disjuncti on, relation ,and direction, and the rest of hi. connectives support mainly the logic ofalternatives or consequences, so his substantive vocabulary also establishesa world of arguable inference" (p. 289). Concludes that in the Songs andonets, as well as in Donn e's art in general. one finds "a persistent characterizingabstract structure" (p. 2 9) and suggests that to ask how Donne{eels his thought will be un. ucccssful: "rather to ask how Donne thin ks hi

John Donnefeeling is to seek and find the pattern of exuberant superlative questionsand imperatives compellingly tempered by conditionals, advcrsatives, andstraight den ials, a pattern that emerges as a simple downright statement ofthe actuality of language and of life" (p, 29l).'49 467 . IILGATE, WESLEY. '''A ire and Angels' and the Discriminationof Experience," in Just So Much Honor: Essays Commemorating theFour-Hundredth Anniversary of the Birth of John Donne, edited byPeter Amadeus Fiore pp. 149- 76. University Park and London:The Pennsylvania State University Press.Calls "Aire and Angels" a truly metaphysical poem because " it studiesits subject in large perspectives of time, showing how a passionate experiencearises out of the past and open upon a never-ending future" andbecause "it presents and defines the contours of human exp erience inrelation to the spiritual substan ce of the universe itself" (p, 175). Suggeststhat we are now capable of better understanding and appreciating the poemthan any previous readers have been. even in Donne's lifetime. Reviewsthe metaphysics upon which "Aire ami Angels" is built and suggests thatmuch of it richness is "due to the tension and interaction between a viewof the universal frame of things as static and a iew of hum an experienceas dynamic" (p. 152). Presen ts a detailed reading of the poem and stressesthe sense of dramatic progression the poem reveals "as the speaker vividlyrecalls and assesses the movements of complex experience to the pre ent.or desired state of mutual adjustment of which he now speaks to hi lady"(p, 152). Suggests finally that the speaker of the poem concludes that"though love passes through the stages of wonder and worship, and variouskinds of physical attraction and desire. love can find its only appropriatefulfillment when it relates to the love that the woman gives in return,not to the woman herself" (p. 170).~ 468. M ILLS, L LOYD L. "T he Literary Character of Donne's Referencesto Specular Stone." HAB 23: 37- "P .Argues that Donne's references to specular stone in "To the Countes eof Bedford: Honour is so sublime" and in "The undertaking" arc purelyliterary references and do not refer to a particular material to be found ineither the ancient or the modern world. Sugge ts that the reference areused primarily in a poetically complex way and that the descriptive detailand metaphorical implications of a passage about specular stone in Donncsermon 16 are the best means for illuminating his meaning. Show thaIthe reference to specular stone in "Ib the Coun tessc of Bedford" is u edto illustrate her spiritual perfection and that in "The undertaking" it iused to illustrate the difficu lty of being Platonic in an un-Platonic age 3110the "inab ility of the pact to teach (or indeed practice) his art where thereis no subject" (p. 40).

A Bibliography of Criticism~ 469. MIROLLO, JAMES V "The Mannered and the Mannerist in LateRenaissance Literature," in The Meaning of Mannerism , edited byF. W Robinson and S. G. Nichols, pp. 7-24. Hanover, N .H.: UniversityPress of New England.Reviews the state of scholarship on and various th eories about the conceptof mannerism in literature and suggests ways to improve the presentconfusion concerning th e application of the term. Distinguishes betwe enmannerist art and mannered style. Suggests that "literary mannerism is,on the whole, parasitic and parodic in nature," that "it does seem to marka break from the esthetic assumptions and the repr esentational style ofHigh Renaissance art, but, incongruously, it still depends upon that artfor its effects," and that "the overwhelming impression one has is that of afailur e to be genuinely revolutionary in saying someth ing new . . . and ofa nearly total reliance on representational means" (p. 17). Notes that "inmanne rism the mannered is never far off bec au se it is too easy to fall intomere quotation of one's predecessors, however exaggerated" (p, 17) andtha t, although mannerism produced a number of unquestionable ma sterpieces,it did not produce many great works. Argues that, "for Renaissancewriters seeking alternatives, the traditional codified esthetic imperative waswit, which in its literary sense means verbal or imagistic or formal complexity,distortion, compression, enlargement, enigma, obscurity, displacement- in sum, all the deviations from the norm of clear, rational,coherent, and balanced presentation or structure"; and thus, mannerism"is the art that reveals art" (p. 17). Mentions Donne throughout by way ofexam ple.~ 470 . MONTGOMERY, LYNA LEE. "The Phoenix: Its Use as a LiteraryDevice in English from the Seventeenth to the Twentieth C entury."DHLR 5: 268-323·Comments on selected uses of the phoenix legend in English literaturefrom the seventeenth to the twentieth century. Notes that, "from its fullsplendor and vitality as a literary device in the seventeenth century th eph oen ix sank into the nest of eighteenth and nineteenth century literature, relatively dead, to arise once more in contemporary literature, renewed and vigorous, as a rich and almost endlessly versatile symbol-oflove, of the soul of the poet, of the unconquerable spirit of whatever it istha t men value and long to believe has permanence" (p. 321). Notes that,although the actual existence of the phoenix was debated in the seveneenthcentury, Donne denies its historical reality in "An Epithalamion,O r mariage Song on the Lady Elizabeth" and points out that he was "amongthe first to appropriate the phoenix as a symbol of sexual love" (p. 277).Disc usses briefly Donne's uses of the phoenix in "The Canonization,"where the man and woman, "uniquely gifted in love, re-enact and indeedgive fresh meaning to the phoenix myth," and in the aforementioned epithalam ion, where "he first uses the phoenix as a symbol of excellence ina com pliment to the bridal pair" (p. 277).

.- .,/ - John Donne~

,\ Bibliography of Criticism I - ~I :>lutely unm usical voice provides"-in fact, "much more alive, it ccrns,than Donne's OWIl contemporaries were" (p, 2 -I ).~~ 47 3. MORRIS, W ILLIAM E. "Donne's Usc of Enallage in 'The Coed­Morrow.''' AN&Q 11: 19-:W .First appeared in LClTlgQ 8; sec entry 126. Reprinted with only minorword changes.~ 474. M UELLER, JANEL M. "Donne's Epic Venture in the Metempsychosis."MP 70: 1°9-37.Surveys the critical history of the lv1e t empsycho si .~ and suggests that inthe twentieth century Donne's poetic fragment ha been generally misunderstoodas being primarily a satire and thu has been misinterpretedand underevaluated. Discusses the form and content of the poem andargues that in it Donne, unlike the writers of the usual Ovidian mythicaleroticnarrative poems that are based on single episodes from the Jvl etamorphoses,evolved "an epic design that reflected the larger contours andsubstance of (kid's epic" (p. 11 - ). Docs not insist on direct parallels betweenvid and Donne but stresses "the continu ing consonance of thetwo poets in treating their very similar themes of metamorphosis and metempsychosis"(p, 116). Argues that, although I anne creates an original,even an idiosyncratic, poem based on a myth of his own devising, thethematic core of hi. poem was in fl uenced by the views of Carpocrates andEpiphanes, whom Donne likely found in the Latin works of Clement ofAlexandria and in Tertullian, from whom he "evidently got the 'Pithagodan'association for Carpocratcs as well as the title for his poem" (p, 12; ) .Maintains that the Gnostic raw materials from which Donne drew showthat the lvletempsychosis "is not a satire in the ba.ic or usual ensc: thevision i of a world so bad ... that it is to be rejected, not reformed" andfurther suggests that Donne chose an epic mode because of the gravity ofthe subject and that he "was following (individualistically, as always) theOvidian model of the epic" (p. 135), a fact recognized by the seventeenthcenturyeditor, who placed the poem at the head of the 1633 edition.\rgues that Donne abandoned the poem because he came to recognizethe impossibility "of an approach to life grounded in anything other thanpersonal moral responsibility and an orthodox belief in salvation throughChrist as the one hope of that life in the body and the world" (p. 137).\rgues that, like St. Augustine, Donne "came to adopt an intensely subiectiveapproach to experience, aile which shifted emphasis from the metaphysicsof the universe to the morality and spirituality of the self" and thus"as a transition piece by which Donne found his true personal and poeticdirection, the tvletempsychosis is well placed at the head of his poems" (p.137).'-4{) 475· . "Exhuming Donne's Enigma." MP 69: 231-49.Review article of live books: (1) R. C. Bald, John Donne: A Life (entry

John Donne179}--"chicAy valuable as a compendium and a synthesis" in which , "whilea nu mb er of new facts do appear, a greater amount of information imprc.sesitself anew upon thc reader because it is placed in a developedcontext \ here it imp ortan ce and its imp lication s can be gauged" (p. z35);(z) Winfried Schl ciner, The Imageryof/ohn Donne's Sermons(entry 261)­"the mo t solid contribution to our understanding of Donne the preacherthat we have had to date " (p. 23 ); (3) Judah tarnpfer, John Donne andthe Metaphysical Gesture (cntry 267}--"the worst faults of this book lienot in details bu t in the primacy of the psycho logical approach" (p. 243)and its mo t engagi ng featu re "is the cnthusia m with which it was overwritten"(I'. 244); 4) Robert . Jackson, John Donne's Christian ocation(entry 219)-a book that "in general repudiates thc ordinary standards ofprecision . discrimination, and coherence that obtain in historical and literarystudy" (I'. 24 5) an d yet makes good poin ts about doctrine and cripture;an d (5) Earl Miner, The J\t1etaphysical Mode from Donne to Cowley(entry 123)-a study that, with its presentation of "some certainties, somesurm ises, ome close examination of evide nce, some sweeping statements,some questio ns left hanging- epitomi zes our presen t situation with regardto the Donne enigma" (I'. 249).~ 476. M URPHY, A VON JACK. "The Critical Elegy of Earlier Seventeenth­Centu ry England: ' Genre 5: 7 5-105.Discus es the seventeenth-century critical essay as a subgenre of thefuneral elegy. Del ineates it di tincti ve feature , the range and varieties ofits techniques, and its tradition. Comment briefly on Lord Herbert ofC herbu rys and Arthur Wilson's elegies on Donne and discusses HenryKing's "Upon the Death of my ever De ired Freind Dr. Donne Deane ofPaules" to show how King imi tates Donne' tone, prosody, and imagery.ails King's elegy "literary criticism of the highest orde r" (p, 93) and saysthat C arew's elegy on Donne exhibi ts "critical brillia nce uns urpas ed byany co ntemporary Engli hrnan" (p. 94). Contain a selected, annotatedchecklist of critical elegies written in Engla nd between 1600 and 16 0(PI'. 97- 105) an d list seven on Do nn e.~ 477. NAKAMURA, Mn EKO. "A Ring withou t the Stone: A Stud}' ofBaroque Quality in The First Anniversary (2)." Insight (No' re Dame[o hi Daigaku , Kyoto), no. 4 (May): 59-75.Second part of a two-part essay; ce entry 35- . Discus e the baroquequaliti es of The {its! Anniversary, especially massiveness and movementin both matter an d form , and distinguishes this definition of baroque fromthat offered by Od ette de I lourgue in Metaphysical Baroque & Ptecieu(19 53). Compares and cont rasts The (irst Anniversary and Cras haw' "ThL'Weeper." uggests that Donne's poem could be called "an epic of smallerize, a .ort of post-Paradiscan epic" (p. i }, and maintains that "rna siveness,movem ent, structure and metaph or arc all united to how on direction:upward' an d that "distorted vision , disproportion , and irregularif

t\ Bibliography of Criticismarc all its components" (p. 7 ~). Concludes that "the seemingly excessivelam ntation and emotional agitation i plann ed to give immediate impactof de olation and depression. and to bring out, ill a negative paradoxicalway, thc hope and aspiration to virtuousness, to get to Heaven, to moveupward" (I'. 73)·~~ .t78. NavAR R, D,\VID. "'The Exstasic': Don ne's Addre s on the itatesof nion," in Just So I luch Honor: Essa)' Commemorating the Four­Hundredth Anniversary of the Birth of John Donne, edited by PeterAmadeus Fiore, PI'. ~ 19-4 3. Univcrsit Park and London: ThePenn ylvania tatc nivcr it)' Pre s.Discusses both the advr ntages and the limitation of interpreting Donne'spoetry in the light of the history of idea and, in particular, evaluat theapproaches to and th interpretations of "The •xtasie" by Helen Gardnerand . J. Smith. Maintains that their critical insights arc valuable andreveal "a foundation upon which a resolution of the controversy about thetOIlCof thc poem and its attitude toward human love can be built, gi enthree assumption: that Donne did not re earch 'The Exstasic' as he didB iatllG lI at o .~ and Pseudo-iviartyr; that in 'The •xstasic' he wa not onlyinterested in casui try of love but even more interested in a poetic contruct;thaI he was not only the first poet in the world in some things, hutalso that the level of his customary achiev .mcnt is so high that 'The~ xstasie' is a fi ne poem" (p, zzI). Disagrees with Gardner, who "seems tofeci that unless Donne is serious about ecstasy in this crucial poem, theprecur or of the great love poems, he haromchow compromised theintegrity of hi basic belief about love" (pp. 226-~7 ) and p in out that'oil is frequently the committed man who dares to explore and exploitalternatives and that it in no way undercuts a man' integrity if he chou es10 be witty: bout a subject that matters to him" (I'. 227). Agree with 1\. J.imith thal "The Extasie" is a remarkably witty poem but thinks that Smith"docs not seem to fi nd the wit very remarkable when he di cu .cs it" (p.n - and also is too inclined to I'll h Donne "too far into the Aristoteliancamp" (I'. 230). Presents a reading of the po -rn that under.corcs aspectsf it wit that have been neglected or mi interpreted in the r-a t and findnne' clever u es of a h pothetical listener and a "dialogue of one" a'Ihe keystone of Donne's arching wit" (p. 232). Argues that through thesed vice Donne is able to d liver an authoritative, dispassionate, and al­Tl\O t scienlifically objective justifi cation of bodily love as compatible withirilual love. Sees the poem not as a celebration of mutual love but pintsI that i "arid air of refined doctrine provides a fertile atmosphere for9l argument and dry wit" (p. 240).479. YE, ROBIm T . "'111e body is his b ok: the poetry of John Donne."CritQ \4: 345- 60.rgues that. if Donne's poetry, both the secular and the acrcd, is readvhole. the reader will find "a con.i tent and credible D nne, much

John Donneconcerned with the problem of how to exist well, in whatever worlds maybe, and how to love well, beyond the fact of self" (p. 352). ttcmpts Loanswer the objections of those modcrn readers who are put off by Donn e'sreligious verse because thcy find it too witty, find it lacking in mysticaland visiona ry impetus, or suspect that it is perhaps insincere or, at best,half-hearted. Surveys Donn e's biography, attitude toward love, and hisreligious sensibilities to show that he was consistently serious about hiscommitmen t to love and that his religious development was achieved bygreat moral effort, hard intellectual searching, and absolute honesty, Discusses"T he Canonization" and "T he Extasie," for example, to how thatthere is no radical division between Donne's love poetry and his religiousverse since both are serious, albeit witty, explorations of the nature of love,which is fundamentally a religious issue. Discusses the HoI)' onne is as ameditative seque nce and suggests that their major appeal is that they presentDonn e "us an ordinary man down on his knees before Cod" (p. 357).Briefly comm ents on the effectiveness of "The Litanic'' and "T he Crosse,"but suggests that it is in "Coodfriday, 161 3. Riding Westward." "A Hyrnneto ad my God, ill my sicknesse," and "A Hyrnne to God the Father" thatthe reader will see "the height of his powers and lhe depth of his seriousnessas a poet, wringing every drop of meaning from his experience" (I'.358).~ 480. PARrrrr, G EORGE A. E. "Donne, Herbert and the Matter ofSchools." ETC 22: 381-95.Recognizes the inAuence of Donne on George Herbert, especially oncertain of Herbert' best poems, but distrusts the label School of Donne,which "conceals more than it reveals" (I'. 395). Contrasts Donne and Herberlas religious poets and sees Donne primarily as "the great religiouspoet of self-dramatisation" (p. 382), who objectifies his experience in orderto come to a personal understanding of his relationship to God andwho projects in his poetry a great lack of confidence and sense of uncertaintyin his beliefs. Slates that Donn e "is better as a poet of individua lfaith and doubt than as a celebrator of the communion of Christian beliefand uf the great occasions of the life of the Church" (p. 386). laintainsthat Herbert's poems are less egocentric than Donne's, less imbued withdoubt and rebellion, for Herbert sees his own experience as analogous tthai of all Christians.~~ 481. PARt-:S, EDNA D. Early English Hymns. An Index. Metuchen,.J.: T he Scarecrow Press. viii, 1681'.Presents an index of early English hymns, in pari to challenge the asumptionthat English hymn writing dates from Isaac Watts (1674- 174 ),Includes much religious poetry of the seventeenth century, inee " OJU hwhich was suitable was soon adapted and joined with a tunc" (I'. iv, eventhough it was not originally designed for congregational singing. Includepoems that were never set to music jf they conform to the definition f

A Bibliography of Criticism [ H) ~ I . 177the hymn . rranges the hymn in alphabetical order by first line and al 0pre cnt (I) the meter. (2) the number of lines or tanzas in the earliestpublication of the poem, (3) the name of the author, (4) date of publicationand page or line number where the hymn can be found. and, whenpo siblc, (5) information about the tune and cornpo er, Lists five item forDonne. Contain bibliography (pp. l.n-;4). author index (pp. 1-;-62 .compo er index (pp. 16,-6-). and tune index (pp. 166-6 ).~ ~ 4 a. PATRICK. J. lAX. "Donne's Holy onnets VI." Expl 3I : Item1 2 .In part, a reply to rthur \ . Pitts, Jr. (entry 358). Argues that the facementioned in line 7 of "Th i: is my playc last scene" is the face of Cod,not that of Satan. as Pitts . uggc t . and that lines 11 -14 are "a pica orprayer to Cod for purgation from sin and for the imputation of righteousness"and not, as Pitts maintain.. about resisting temptation and welcomingdeath with n confident tone, Shows how Donne emphasizes the "unjointing"of body and soul and of the soul from sin and how the speakerpleads in the final lines of the sonnet that, iust as his fl esh will be unjointedfrom his soul at death. 0 may his sin be unjointed from his ouland fall to hell as his freed (lui fl ies to heaven. where it may view the faceof od \ ithout fear. e also ' dgar F. D. niels (entry 402 ).~ 483. P IRrE. ROHl·:nT .. cornp. JOhl1 Donne ' ; 72-1 63J : A Catalogueof the Anniversary Exhibition of First and Earl' Editions of His \ orksHeld at The Grolier Club February 15 to pril 12. 19 2 . 'orewordby John Sparrow. ev York: The Crolier Club. X"V, .p p.Limited to 650 copie .De cribe. briefly in the foreword (pp. ix-xi) the exhibit; notes that, exceptfor a few unique items, the content of the exhibition were frompubl ic and private ources in the United tates and comments on theextensive interest in ( onnc by modern scholars and critics. tatcs in thecompiler's note (pp. xi-xiii) that "only seven items by Donne printed beforc1 00 and listed in Kcyue: were not included in the exhibition" (p.xiii ], Lists lender to the exhibition (p. xiv-xv) and lists 157 annota tedmain entries divided into five major sections: (1) prose works; (2) letters;!3) sermons; (4) poetry (with three additional subdivisions: John Donneand lhc Crolicr Club, musical settings, and translations); and (5) miscellarry(including Donne's seals. books dedicated to Donne, books fromD nne' library, biography. iconography memorial verses, modern ediions.bibliography, and memorabilia). Contains five illustrations.-I 4 · POWER, H h LE \ . 'The Speaker as Creator: The oice IIIDonne' Pocm .." , 1 I , no. I : 21-28.J 15CI1 e Donne's usc of dramatic devices in a number of poems, inuding 'The ' Iea," "The Sun ne Rising." .'/\ Valediction: forbiddingirning," "The Canonization," 'The Indifferent," and several of the Hal)·

fohn DonnSonnets, to show that the speaker ofthe poems "co ntrols the poe tic act ivityin the poem " while "Donne controls the poem " (p. 28). Disagrees withcritics who see the spea ker as typically presenting an evolution of his ownthou ghts and feelin gs within the poem or as proc eeding in suc h a manneras to enlarge his own percepti on s of his experiences . Maintain s rath er thatthe speaker con sciously creates a speech, a verbal construct, in order tomanipulate a given situa tion. Sees the spea ker, then , as primarily a highl yconscious performer and warns that, altho ugh the audience within a poemsho uld be fooled , the au dience outside it sho uld not be.~ 485. REEVES, TROY DALE, ed. Donne: 1967-1971; Steinbeck: 1962­1971; Shakespeare: Films and Recordings: Two Author Bibliographiesand an Audio-Visual Checklist. Prepared by students of English 639 1.San Angelo, Texas: Angelo State University. 141P .An un annotated checklist of criticism on and editions of Donne for1967-1971 (pp. 7- 20). Lists 142 items, excluding reviews.~ 486. ROLFE, SUE, AND ANDREW HILTON, eds. A Cit y Tribute to JohnDonne, Poet and Dean of St. Paul's, To Celebrate the 400th Anniversaryof his birth, isi-Bth October 1972. Portsmouth: Grosven orPress. 25p· + 5p·Contains a foreword by Ma rtin Sull ivan , De an of St. Paul's (p, 1) anda chronological list of Donne's life and major publications (1572-1640(p, 2). Lists three commemorative events held at St. Paul's Cathedral: (1a comme mo rative service , including read ings from the sermo ns on 1 October;(2) a reading by Bern ard Mil es from the sermons and Devotionsupon Emergent Occasions at the North Door on 3 October; and (3) aprogram of music and readings, including a talk by Helen Gardner, areading from th e poems an d sermo ns by Alan Dobie, and a musical pre ­entation by the Campian C onsort , playing seventeenth-century settings ofDonne's poem s by Coperario, Ferrabosco , Hilton and oth ers, along withDuncan Robertson acco mpanied by Brian Vickers singing Britten 's TheHoly Sonnets of John Donne (p. 3). Announces a program of words, music,and pictures, entitled "John Donne: An Illumination," given by FrankKermode, William Empson, Roy Strong, and Andrew Hilton at the MermaidTavern on 6-8 October (p. 3). Separate program attached. In "TheDonne Revival " (pp. 4-5) G eoffrey Keynes comme nts briefl y on the revivalof interest in Donne in the twentieth century, menti on s how he wasintroduced to Donne's poetry by Rup ert Brooke, and com me nts briefly onhis textual and bibliographical publications. In "Donne in a World ofCrisis" (pp. 6-9) Jack Lindsay presents a brief biographical sketch of Donneand a general introduction to his works and sensibility. In "Donne: ALondon Poet" (pp. 10- 13) Barbara Eve rett comments on Donne's Londonroots and his affection for the city and briefly discusses London during thelifetime of Donne (from Donne: A London Poet, entry 418). Brief com-

Bibliography o{Criticism179I Ison Donne by Dryden, Coleridge. Yeats. Eliot, and Pound (pp. 14­In "Donne the Preacher" (pp. J6-:w) Helen Gardner discusses Donne'ncept of and practice of preaching and general characteristics of hismons and illustrates her comme nts by an analysi of Donne's sermonched before King C harles I at t. James on 3 April 1625 . In "Donneto lu ic" (pp. 21- 23) Ian Harwood discusses the early musical setofDonne's poems and comments briefly on Donne's attitude toward1 j . Reproduces a selection from Benjamin Britten: A Commentary onI Works by Peter Pears that discusses Britten's settings for the Hal)'Son­I pp. 2~-24 ) . A selection from Walton's Life that describes Donn e's«lers for his monum ent (p. 25). everal illustrations.• 4 . ROUSSEAU. GE R.E . • AND NEIL L. RUDENSTINE, eds. EnglishPoetic Satire: W)'(JU to Byron. I cw York: Holt. Rinehart and Winston.xvi, 599p.urveys in the introduction (pp, 1- 4 3) the development of satire from1 ancients to the Romantic era. Calls Donn e the foremost English sati-Iofthe J 90S and maintains that, although differing in tone and theme,five of his satires have resemblnnces.one to anothe r: "their satiric pernaeare not primarily malcontents or cynics, but adventurous, witty, andwildered moral spirits engaged upon journ eys that serve as occasions forluating and choosing among conflicting kinds of experience and modesIi e"(p. 14). Points out major features of Donne's satirical art. especiallyus s ofthe dramatic monologue in combination with open pentameteruple and hi introduction of Horatian and Ovidian materials into sat­Briefly compare and contrasts Donne to John Marston and Josephall. elected bibliograph on satire (pp. 44- 46). Th e section on Dorine. ;;-7/) includes a brief biographical sketch and a short introductionatyres, a selected bibliography of work on the Sat yres, and repro­U e the five satires (Milgates text) with explanatory note (pp. 57- 77).48 . ROWSE. 1\ . L. The Elizabethan Renaissance: The CulturalAchievement. New York: Charles Scribner's Sons. xiv, 412 p.Comments on Donne's reaction against Elizabethan poetry: "He is angular, isolated phenomenon. with no obvious affi liations; of extraordiaryoriginality, emotional intensity, intellectual vitality, he is already onI way to the next age, a forerunner, a precursor" (p. 80). Discusses majoriaracteristics of Donne's poetry and comments on his Catholicism. Pointsthis rotieism and suggests that the skepticism, cynicism, and relativflofhi poetry show that "he is finding his way out of Catholicism" (p,Discus cs Pseudo-Martyr, particularly Donne 's attack on the Jesuitsde pccially on Robert Persons (pp, 345- 48).• 4 9. RUFFO-FIORE, SILVIA. "Donne's 'Parody' of the Petrarchan Lady."CLS 9: 39 2-406.

John DonneReprinted as Chapter 2 of Donne's Petrarcltism: A Comparative View(entry 863), pp. 23-38.Analyzes "Song: Coe, and catche a falling starre," "Woman constancy,""Com m unitic," and "T he Indifferent" to show that Do nne, a true inno ­vator, did not reject Petrarchism but adapted it subtly to hi own poetictemperam ent and needs and to show that, "wherea Petrarch look the fir tstep toward humanizing Dante's totally spiritual conception of woman,Donne exten ded Petrarchs partially human ized view into an even moredown-to-ea rth situation" (p. 397). Reevaluates Donne's u es of parodicand satiric devices to shov that "it is too facile to conc lude that hi poemarc un-Petrarchan because they show mistrust, cynicism, or sarcasm towardwome n" (I'. 396) and maintains that Donne's use of the cynical rna kin hi poetry is perhaps hi major contribution to the development of thePctrarchan tradition. Concludes that Donn e neither uncritically acceptsthe idealized view of woman projected by Petrarch's imitators nor deniesthe ideal with satiric attack; rather he satirizes the abuses of lhc ideal whileat the same time redefining it in a more realistic context.~~ 490. . "Thc Unwanted Heart in Petrarch and Donne." CL24: 319- 2 7.Reprinted as Chapter 1 of Donne's Petrarchism. A Comparative View(entry 63), pp. 1 1- 22.Discusses Donn e's complex adaptation of the motif of the unwantedhcart in "The Blossome" and "T he broken heart" to show Donne "couldexpress himself creatively within the conventional limits of Pctrarchani.rn"(I'. 327). Argues, therefore, that Donne, unlike many Ie er Petrarchanimitator , "neither imitates nor rejects Petrarchan conceits, language,or situations, but rathe r builds on their implication by probinghow its code and idiom relate to his experience" (I'. 327). Claims that, bytaking Petrarehan thought and ex'Pre. sion a step further. Donne "made anoriginal contribution to the mode, and thus can be rightly called as muchan innovator as Petrarch was in his day" (I'. 327).~

A Bibliography o{Criticism~ 4-92. SAKAMOTO. M ITSUHARU. "John Donn e: 'The Exstasic'

10hn Donnehave chosen to visit Antwerp, rather than proceeding directly from Lilleto Brussels, in order to allow a membe r of the embassy to visit the workshopof Rubens and/or to allow Donne and William Trumbull to visit theirold friend, Sir Tobie -lathew who was residing at the time in Flanders.~ 496. SCUPI-IOU.IE, A. C. "Anglican Wit: An Anniversary Study of JohnDonne: 1." Theology 75: 21-26.Points out that Donn e, "with all his naturalist passion, knowingness,obscenity indeed, is anima naturalitet theologica" (p. 2.3) and discussesDonn e' interest in and witty uses of theology in his ea rly love poems,such a. "Coing to Bed" and 'T he Bracelet ," totes that the same wit isapparent in the sermons hut observes that in them the reader "does notfeel the same strain in following the conceit as he feels when reading thepoems" and also "does not fi nd there mere illustrations which are complexrather than valuable" (p. 23). Presents a brief biographical ketch of Donne.(C on tinued in en try 497.)~ 497. . "Traited with Salvation': An Anniversary Study of JohnDonn e, ll ." Theology 75: 72- 7H.Continuation of entry 496. Suggests that the Divine Poems, on the whole,show "a .ense of train which seem to arise from Donne's deliberate attemptto force his imagination to conform to the traditional Christiandoctrine and the liturgical practice of the Church" (p. 72) but praisesDonne's three major hymns as clas:ic of religious poetry, noting that inthem the liturgical and theological constraints are moved far into thebackground. Discusses Donne as a preacher and notes that his sermonare distinguished "by wit, apt and vivid illustration, and here ami there b)unrivalled passagesof grave and musical prose" (p. 7 ).~ 498. SEYMOlm-SMlTI l, M ARTIN. Longer Elizabethan Poems, Editedwith an introduction and note by Martin Seymour-Smith, rillePoetry Bookshelf, gcn. cd.. James Reeves.) London: HeinemannEducational Books; New York: Barnes & Noble. 261 p.Includes The Progresse of the Soule (pp. 133- 53) with notes (pp, 240­48). Presents a very brief survey of Donne's life and works (pp. 28-29) anda critical discussion of the poem (pp. 29 - 33). Sees the poem as "vital tan understanding of Don ne's hum ou rous, unh appy, sceptical position illthe mont hs prior to his materially di a trous marriage"and as "a piercing!intelligent comic and satirical fragment' (p. 2). Surveys various criticalinterpretations of the pocm-from Jonson to W A. Murray; H. w. IUIlson,and Wesley Milgatc-i-and concludes that it is probably impossible Isay exactly what Donn e's intention was in composing it but that clearly hdirected his satire against public life. Suggests that readers have ofler. takethe poem too seriously and solemnly and have failed to see it sirn pl '"an ambivalent comic poem, by an undecided man" (p, 32) lind thu hfailed to appreciate it as "ingeniously brilliant and irreverent." wit h rn I

A 13ibliogra{Jhy of Criticism"nervous sexual self-criticism"; a poem that served "as an exercise for relievingimmediate and subjective tension" (p. 33). Selected bibliography(pp. 53-58).~ 499. SIlARROCK, ROGER. "Wit, Passion and Ideal Love: Reflectionson the Cycle of Donn e's Reputation," in Ju st So Much Honor: EssaysCommemorating the Four-Hundredth Anniversary of the Birthoflohn Donne, edited by Peter Amadeus Fiore, pp. 33-56. UniversityPark and London: Th e Pennsylvania State University Press.Briefly traces the cycles of Donn e's critical reputation and challengescertain recent approaches to the love poems. Suggests that recent "wellbredindifference to autobiography or metaphysics leaves unanswered theyawning gap of question as to what this poetry is about" and fears that thehistory of Don ne's reputation has now come full circle: "What began aspraise of sheer wit, the ingenu ity of tropes detected by his contemporaries. .. seems likely to return it to a similar position after the revolutions ofmore ambitious judgments" (p, 37). Finds inadequate purely rhetoricalinterpretations of Donne's love poems and insists that they should not beseen simply "as exercises in argument in which commonplaces of amatorycompliment are polished and rearranged" (p. 38). Argues, on the contrary,that behind the wit of the poems lie much genuine passion, tenderness,and serious love philosophy and maintain s that recent historical, textual,and internal evidences point to the fact that Donn e developed his stylemethodically in order to communicate his complex attitude toward love.Recognizes a development in Donne's love poetry- from early lighthearted,cynical, erotic poems to a group of highly complex, serious poemsthat define and celebrate mutual love as miraculous union. Suggests thatin these latter poems, informed by a sophisticated Christian Nee-Platonism,Donne "achieved a fusion of the naturalism of atmosphere of the Latinlove elegy, of dramatic timing and pause, and of a dynamic philosophy oflove, that maintains an emotional authority unlike anything in poetryincc the troubadours" (p, 54). Concludes that it may be his "astonishingubjectivism , this reduction of all experience within the chosen amatoryfield of play of individual will and consciousness, that makes Donne anancestor of the modern mind in a sense different from that employed bythe new critics of the past" (p, 55).'40 500,SHAWCROSS, JOHN T "All Attest His Writs Canonical: The Texts,Meaning and Evaluation of Donne's Satires," in Just So Jv1uch Honor:Essays Commemorating the Four-Hundredth Anniversary of the Birtho{ John Donne, pp. 245- 72. University Park and London: Th ePennsylvania State University Press,Discusses the textual history, ordering, and dating of Donne's satires as\'ella their themes, prosody, and style. Points out that, since the texts areI definitive, "a diplomatic text drawn from various printed and manuript.ources seems to be the best that can be achieved" (p, 250) and

John Donnesupports the notion that all five satires may have been written in 1597­1598, when Donne firsl entered the service ofEgerton. Discusses how thesatires expose five basic, universal problems or dilemmas that beset man;pose "the constant duel between the id and the superego, Ihe problem ofchange in thi world, the need for a guiding philosophy of life, the prideman shows ill externalities, and the avaricious nature of man"; and thusdepict "a full range of deadly sin" (p. 262). Notes that, although Donneoffers no definitive solutions to these dilemmas, he "hopes that his satireswill at least be recognized as proposi ng true doctrine for the world ofmoral men" (p. ::.6::.). Suggests thai the satires progress "from the problemof self to the problems of law courts and lawyers ... to the problem ofreligious belief to the problems of the aristocratic world . .. to the problemswhich greed breeds in both the haves and the have-riots' (p. ::.69).Sees Satyre [ as a dialogue between the body and soul and notes thatSat yreV "has lost some of the spleen of the others and is almost pervadedwith pity" (p. 260). Finds the prosody and style of the satires perfectlysuited lo their themes and intentions and observe. that the style "seemsdifferent from others' because of the satires' techniqu e , their humor, and.beneath the jibes, their compassion for man" (p. 266).~ 50 1. SHERWOOD, TERRY C . "Reason in Donne's Sermons." ELl-[ 39:353- 74-Argues that reason was more central to Donne's beliefs than has beenrealized by modern critics and show ' that reason inform both the contentand the literary form of hi sermons. Maintains that hi notion of rca OIlis based upon t. ugustine' view that reason i a prior and continuingaspect of belief and that Donne attempted "to create a role for reasonconsistent with both his intellectual nature and his sense of human limitations"(p, 358). Argues that Donne's notion of reason also "accounts formany elements necessaryfor assessing the sermons as literature" (pp. );8­59) and discusses the rational content. logicalargumentation, language oflogic, syllogistic structures, and analogical metaphors in the ermons. I Iotesthat for Donne meditation is fundamentally a rational processand that hewasalways interested in the logical dimension of Scripture. Argues, therefore,that his notion of reason "docs not contradict other clements of hi.Augustinianism, but is, on the contrary, explained most fully by the Au ­gustinian rubric: man as rational creature must reason before and aftclbelief' (p. , 66). Examines specifically the imagery, emotion, logic. stru ­ture, and tylistic features of Donne 's Easter sermon of 1626 and his ccondPrebend sermon to show how they are fully informed by his notionof reason. Maintains that Donne is not a rationalist nor does he claim thatreason can comprehend the whole experience of belief, but argues tilalDonne's "aesthetic is the offspring of reasoned belief" and that for Donne,"spiritual experience is not free [rom the restrictions of rational und f ­standing but is dependent upon understanding" (p, '3 4).

·~ .. ; O~ . 5. IPSO. ' , La I. . "Reading the Poem," in An Introduction toPoetry, PI'. 13-B. zd cd. cw York: '1. lartins Pre s.omrncnts on "T he Sunnc Rising" (PI'. 15-1 ) and sugge ts thai itsmajor theme is "the centering, controllin g power of love" (I'. 17). Agreeswith ei.hrnan (The lonurcli of Wit, 19-1) thai the rno t striking charactcritic of Donne' poetry are "wit, elf-dramatization. ami thc u e ofthe colloquial" (I'. 16). ees a dead criou ness in much of I onnes playfulucssand ay that the metaphysical po ·ts exhibit such variety ..that perhapstheir only reocmblancc is in the: u c of rnetaphy ical conceits" p.I ) .~ 9 503. SLiGIIT', CA ~ II LLE. " T o Stand Inquiring Right': The asuistryof Donne' . atyre III,' '' EL 1 2 : --101.Pre:en a reading of at re 111 in th context of event crith-centuryAnglican ca uistry, uggests that in lone. tructurc, and theme the poemis "a dramatization of a case of con scien ce" ami that the persona is "acasuist trying to deal with the problems of a doubting conscic n c" (I'. 86).urvcys Donne' interest in and reservation, about ca uistry, e pccially hidisagre menl with Roman atholic appr aches ba ed on th concept ofprobubilism, an approach rna t clearly identified with the jesuits. utlineba ic differences between Anglican and atholic casuistry, notin primarildifference on the que tion of authority and individual rc I' n. ibility,e I onnc in 'atyre 111 playing thc role of a casuist "advi: ing a youngman whose confusion over the compic .ilies and contradictions of institutionalizedreligion is appar .ntly leading to cynicism, accompanied. perh• \ ith swaggering bra ura" (p. 9-l), Argue that. like a go Anglicana 111 • Donn doe not ug est a solution to the problem of choo ing then ht r ligion but rather offcr. a method or discovering a olution. Sugge" that the poem exhibits Donne's "independence and originality as amoralist and churchman" (I'. 100) and that. incc it was written before thowcring of Anglican casuistry in the cvcnteenth century; the po 'Ill how ,I a ense, how Donn e himself "helped create the Anglican tn dition " (p.I).. ~04 . urn, A. J. "'1hc Di.mi al of Love or, Was Donne a coplatonicLover?," in [ohn Donne: Essa)'s in Celebration, edited by A. J.Smith, pp, 89-131. London: Methuen & Co,Rcvi W ' the argument both of UlO e who maintain that oplatonicudc "crop up" in many of Don ne' love poem and that the. crioum. arc clearly 1 coplntonic, and of tho e who uggest that Donne'poetry "offer no coherent view of love at all hut only a variety ofirnpul , felt in the cnscs as any virile man feel them and carriedubtle erotic life in the texture of th • veri c'' (p. 9). Maintains thatI ex, i the distinctive quality of I onncs love poclry and that "hispurpo eful and expresses a settled way of encountering experienceI hi philo ophy of love" (p. 90). Propo . that Donne i. "wholly

fohn Donnepragmatic, exploratory" and that "in feeling his way to an understand ingof his own proven experience he inevitably fastened on ideas already currentwhich seemed to definc and clarify if ' (p. 90). Argues that in theSongs and Sonets Donne "expressed a sexual consciousness undefined tillthen" (p. 90) and surveys and then compares Donn e's attitude ' with thoseof other great European love poets, including Dante, Cuinizclli, Frescobaldi,Cavalcanti, Pctrarch , Serafino, Tasso, Sidney, Spenser, and especiallyFicino and Pico. Sees Iichelangelo as "the one great Europeanlove poet who unmistakably tried to live out this superhuman metaphysicof love in his art, and in a sense redeems its Rights from academ icism" (p.106). Maintains that Donne does not belong in this company and arguesthat, instead of a preconceived philosophy of love, "what holds Donne'slove poetry togeth er is not thc pattern of his sentimental life, such as itmay be, but a coherent vision of hu man nature and a consistent temperof mind" (p. 12+). Presents a detailed reading of "Farewell to love" as anexample of 1 onne's handling of "one sensitive motif in Renaissance lovepoetry, the renunciation of love" (p. 90). rgues that the poems themselvesshow Donne "consciously formalising his experience in a precisescholastic way" and that "he'd have been chagrined to find people talkingof neoplatonic ideas in his verse" (p, 131).~ 505. . "Donne's Reputation ," in fohn Donne: Essays in Celebration.edited b. A. J. 'mith. PI'. 1- 27. London: Methuen & Co.Traces the history and development of Donn e's reputation as a po tfrom his own time to the early twentieth century and notes that 3 histor 'of Donne's reputation "is a vivid index of changing critical attitudes overthree hundred years" (I'. J). Accounts for the decline of interest in Donnein the last half of the seventeenth century and durin g the eighteenth ccnturyand notes that " orne of the best things ever said about Donne comefrom the nineteen th century" (I'. 1). Points out that G rierson's edition ofthe poems (19 12) did not "burst like a bomb upon an unsuspecting literar 'world" but came rather "as the completion of a process which started withColeridge and Lamb a century before" (I'. 20). Points out that T S. Eliotsendorsemen t of Donne in 1921. "which inaugurated modern criticism ofDonne" (p. 27), and his notion of Donne's uni fied sen ibility were 310part of a long process. Notes, however, that in 1972 critics arc "as fa rremoved in time from those formulations [of Eliot] as Saintsbury was [rumSouthey" (p. 27).~0 506. . "Do nne's Verse-letter." TLS, +February, p. 1 2 9 .Thanks Helen Gardner fur her observations (entry -425) on hi accountof Donne's holograph verse letter (entry 507). See also P. L. Heyworth(entry 437).~ 5°7· --- , "A John Donn e Poem in Holograph: ' TLS, 7 [anu: n,p. 19·

u e in facsimile, d cribes, and discu ses Donne's holograph1 Honorable lady, the lady Carew" found by I~ 1. Croft of othebysnl 1970 among the family papers of the Duke of Manchester thatnnerly in the Public Record Office. uggests that the poem wablvwritten in earl ' February 161 2 and is "the only English poem of\ hich we certainly have as he wrot it." Comments on the irnporfth di covery for textual cholar of I onne's poetry since "all ourf Donne's poem ' depend on cventccnth-century transcripts madeI removes from the original copies" and points out that "no ne oft1 ~, manuscripts or printed texts gives the poem exactlv as DonneIf here." For various replies, ee Helen Gardner (entry .p;), A. J.d enIry ; 06 ), P. L. Hej worth (entry 4 37). and William C. Ic voynu cripta 16 ( 1972): 131- 44.o .. ~"TH . . J., ed. Johll Donne: l!. s .~cI ) 'S ill Celebration. London:Methuen & Co. viii. 47oP.ollccrion of sixteen original CSS;lyS on Donne, with ;I preface by A. I.U1 pp. vii- viii). all indc: to the writings of Donne (pp. 4; 3- ; 6), andI ral Index (pp. 4 57- 70). Each of these e says has been entered sepamthi bibliography. Con tain the following items: (I) A. J. mith,n 's Reputation" (pp. 1-27); (2) Ian Ma Coll, "The Circulation of11 ' Po m in Manus ript" (pp. 2 - 46): (3) Roma Gill. "J\lusa locosa1 houghts on the Elegies" (pp..t/- 72 ); 4) Barbara Hardy, "Thinki ngling in the 'ongs and Sonnet." (pp, 73-88):(;) . J. Smith. "Theal of Love or, \\~1 S I onne a eoplatonic Lover? " (pp. 9 -1 I): (6)\ icker . " he ' ongs and anne ' and the Rhetoric of Hyperbole"~ 2 --4 1 ; (7) Margaret I. I IcGo\\'an, " ' A~ Through a Looking-glass':·.plthalamia and Their Courtly ontcxt' (pp. 17;- 2 1 ): ( ) BrianI ..Not. iren-Iikc, to tempt: Donne and the Composers" (pp. 219­) John Hollander, "Donne and til Limits of Lyric" (pp. 2;9- 2);Howard Er kine-Hill. " ourticrs out of Horace: Donne's Satyre LV;P 's Fourth Satire of Dr John Donne, l ean ol St . Paul's Versifyed"_~ -"' 07): (I I) Patricia Thorn on, "Donne and the Poetry of Patronpp.0 -23); (12) Eluned Craw haw "Hermetic Elements in Donne'sVi'ion" (pp. " 24-4 ); ( 13) Sydney nglo, "More Machiavelliana hiavel: A Study of the Context of I onnc s Conclave" (PP· 349­14) I . \- . Harding, "T h ' l evoiions ow" (pp. 385-4° 3); (15) Dorn­Baker-Smith. "John I on ne's Critique ()f True Religion" (pp. •~04- 32 ) ;)6) \V. I 1 elwyn Merchant. "Donne's Sermon to the Virginia orn­3 November 1622" (PP. 4 3-;2).-oq. So T HALL, RAY 10 . ' I). "Love Poetry in the Sixteenth cntury.",1 22: 362- o.II I: the decline of COlli tly love poetry in England after the deathII and relates this pheuomc non to the shift in form of economicnon: 'T he break between th e plain style of Wyatt and hi ' fellows

fohn Denn eand the rich orn ate style of the Eliza bethans marks an important changeof poetic sensibility; the 'rich esteeming' of the new style reflecting a newbecause normative, respect for expensiveness" (pp. ·n8-7Q). Briefly COIll ­merits on Donne's uses of comme rcial images and his employ ment ofbusiness transactions as a vehicle for expressing love. Points out. for example,that in "Lovers infinircncsse" Donne's love "is realized in the marketplace;the lover is a would-be purchaser whose lack of thrift prevents himfrom paying the agreed price for his lady" (p. 376). Suggests that this"bazaar appreciation of love" suggests"the consequence of particu lar constraintswhich have been imposed not primarily by intellectual. religious,or aesthetic opinion, but by the form s of economic association which havecome to domi nate English life in the course of the sixteenth century" (p.379). Fer replies, see Stanley Gardner (entry 552) and F. W Bateson .EIe 23 (I9T;): 440.

A Bibliograph y of Criticism~ 512. SUGTh IOTO. Rvirrxn-. "Ceniitsu to Hi-gcnjitsu- Donnc no Styleni kansuru lchi K6~at~ 11 " [Reality or lot Re1l1ily?- A Study of Donne'sStyle]. [imbun Kenk)'u (Osaka Shiri tsu I aigaku) :q, no. 9 (Novembcr):3- 13.Commen ts on Donne's tendency to employ very concrete imagery torepresent supranatu ral clements, such as ghosts, and his opposite tendencyto employ highly abstract logic in the discussion of concrete matters.Focuses upon "T he Apparition."~ SI 3. • UZUKI, Kozo. "John Donne no 'Divine' na Ren-ai-shi to 'secular'na Sh ukyo- 'hi" aim Donne's "Divine" Love Poetry and "Secular"Religious Poetry]. Eigo Eibungaku KeTlkyii (Ya magata Daigaku],no. 16 (February): 19- 34.Discusses how secular images function in Donn e's religious poems andhow religious images function in his secular love poetry.~ S1+. SZE.'lCZl, lVI IKw ', T lBOR SZOBOTKA. AND ANNA KATONA. Az angolirodalom tiiti enele [T he History of English Literature]. Budapest:Condolat. 699P,General urvey of Donne's poetry (pp. 16S- TZ) that stresses the unconventionalityand un iqueness of his style, scnsibility, and lifc. Discussesmajor characteristics of his poetry, especially his uses of realism and conversationaltone. his employment of dramatic techniques and argumentativeanalysis, and his transformation of Elizabethan conventions intonew forms and for new u. es. Briefly compares Donn e and Browning andcomments on Donne's complex interest in philosophy and science andbriefly compares him to Giordano Bruno. Discusses the metaphysical mode,both its themes and distinctive style. Suggests that in his religious poetryDonne returns to mo re traditional Ch ristian orthodoxy but emp hasizesthat in all respects he best represents the transitions of thought and sensibilitthat took place in the late sixteenth and early seventeenth centuries.Icntion Donn e in relation to George Herbert, Lord Herbert of C herbu, Vaughan, and -1:lI"vcll and relates English metaphysical tyle to theCongorism of Spain and the Marinismo of Italy. Comments also on Donne'sinfl uence on later pacts, such as Gerard Man ley Hopkins, T S. Eliot,I nd the post- World War I poets.~ 1~ . TARLINSKAYr\ . I L C. "Evoliutsiia slogovoi i aktsentnoi strukturyanglii kogo sil1abo-tonicheskogo stikha" [T he Evolution of the Syllabicand Accentual Struc ture of English Syllabo-tonic Verses].bnomik nauchttykli trudov Moskol'skogo pedagogischeskogo instiiuta inostrannykh yaz)'kol' 66: 75- 84.Discusses the evolution of the syllabic and accentual structure of En­. II syllabo-tonic verses. Includ es Donne and suggests that John u klingrncd his poetry not 0 mu ch from Ben Jonson a from Donne.

fohn Donne.~ ; 16. T."TSUM.o\, ~hNOR U . E;s1li no Rit.mdo [Rhythms in English Poctrv].Tokyo: Shohakusba. ; ~qp.BricAr discusses the flexibility and complexities of Denne's usc of rhythmin his poetryand points out how he abandoned the regularly repeated beatof the line and adjusted the pace and emphasis to fit his meaning and toreflect the accents of speech. Discusses ways in which Do nne oversteppedthe conventional patterns in blank verse, sees a number of resemblancesbetween Donne's experimentations and those of Gerard Manley Hopkins,and suggests thai Donne's rhythms might profita bly be examined in thelight of sprung rh ~ 1 1 11 1l . Briefly compares and contrasts Dunne to Browning...:; ; 17. T An.oH, ROllERT. "'111CSeasons of His Mercies: John Donne at51. Paul's, Christmas, 1 6 ~ 4 . " SCJ'-: 30: 3;.Reviews a liturgical pia)' by Martin Robbins (with musical settings) thatwas produced at Emmanuel Church of Boston nil 1

patn n or mere pandering to their taste: alway followed" (p. ~ o ').oul that many patrons and patronesses were themselves literary peoplelayed important roles in shaping ta te. I-ocuses on the verse leiters1111

the hypcrbol from Aristotle to the eighteenth century and strc ses I Iamong other things, hyperbole is a pedal kind of language tI cd "Ipres. a upra-normal idea or experience" and i "an encoding h,11Cfrom the reader a de oding" (p, I .n ). Oi cu cs th ingenious. comand even bawdy and blasphc mou u cs of hyperbole in th '011Sonets. in particular in "two main groups of subjects to which hyp rIis applied: the lover , and love. considered first a values in them eland then considered in relation to the rest of the world" (p I. )cus e in the first group "T he good-morrow;""T he Ann iver arie," M ' \ \diction: of my name, in the wind ow " "A Feaver," "Lover infinitcn"Love growth: ' "A Va lcdiction: of weeping:' "" nocturnal! lip 11 .cies day: ' and especially "T he Sunne Rising"; and under the .econdgory, " Iwicknam garden,"" Valediction: forbidding mourmn ," .Extasic,' "Loves exchange," "A alcdiction: of the booke,' "T he Die,"T he Relique.' 'T he Funerall," and especially "The anonization." Iagrees with Wilbur Sanders's reading of Donne's love poetry, CSpCCl' I"T he anonization." in 101m Donne's Poetry (entry 366) and altribut 'misreading in part to a failure to understand and appreciate D Olilie'of hyp .rbole. 'Iaint:lin.. in respon c to Sander , that Donne "u: dpcrbolc ill a variety of \ ays, demanding that we should decode th 10nal conventions whi h he set up in full awarene s that this 'Ii 111 'cess' needs to be. in joseph Priestley's words. ' 0 circum tanced' tit, tare led into no mistake by . uch terms' and perceive their uniquam ." (pp, I 3- 4 ·'-"! ~ ~ : 3 . \ ,\ C, '1m , " RLE . , cd. "The 62Ild Annual D1I111'""Found- A I anne Holographl" Th e Poetry Soc:iet)' o{1\/Il r/((Jletin (May): 3- 19. 30- 31.( I ) Reports a celebration of the four-hundredth anniver ry 0 Ibirth held on : 0 April 197: by the member of the Poetry : (uAmerica at the Plaza in ! ew York (pp. 1- 19). Contain an .iddJohn T Shawcross. ill which he evaluates modern interest ill Iregrets the "kidnapping" of Donne by cholars, and argues for a rnation of his poetry as poetry, not as a repository for ideas and plu lical concepts. Notes that, following Shawcross's address, Arnoldread [rom Donn e's poems and Th omas Bogdon sang a number nf lll 11SOl/ nels set to music by Virgil Th omson and Benjamin Britten, (2) !\duces the first six terccls from the holograph of [ onncs "Io lit ICarew" that wa recently old at 'otheby's and al (J reprints the ~ mterccts from hawcr ss's edition of the poems ( 1967).~~ ~: 4. W ,\RNKg , /' R,\ NK J. VersiollS o{Baroque: European Lit[1/(J!tlie Seventeenth Century, New Haven and London: Yak, IIIPr s. xi. 229p.Chapter 3, in different form, first appeared in Coli'lost 0 Cha pter 4 fi rst appeared a "The World a

ihllOgmph)' o(Criticism193Ion 011 a Traditional opo: ," in Fest chri(t [iir Edgar Mertner. ed­B rnurd Fabian and lrich ! uerbaum [Munich: Wilhelm Fink, I Q6 ), pp. I - -200.rtion of hapter 5 wa first publiihcd a "Da pielelement in dcrlvnk des Barock" (entry 166).the term baroque "to denote not

ousness of hi tatemen ts" (p. 98). Suggests that the ongs and on"constitute a compendium of Baroque amorous attitude ., (p. 104)notes that the playfulness of baroque love poetry "shows itsclf in four dtinct but related features: the imposition of a double view, through whlthe speaker simultaneou sly voices his personal passion and distances hlnself from it in a half-amused way; the formulation of the speaker's relatito the beloved in quasi-dramatic terms; the use of comic hyperbole; athe practice of insulting or showing aggression toward the beloved \the consequent creation of a kind of amorous agon , or erotic flyti ng"98-(9). Discusses the playfulness of "The Canonization" as an examof baroque comic hyperbole and compares Donn e to numerous Conncntal poets, such as C6ngora, Marino, Hofmannswaldau, Quevedo, illAmant, Paul Fleming, and others. Chapter 6, "Metaphysical and .~tative Devotion" (pp. 139- 57), deals with the baroque religious andvotional lyric, both English and Continental. Relates the features ofdevotional lyric to the art of discursive meditation and suggests reasonthe decline of baroque sensibility during the last half of the evcntecicentury Comments specifica lly on the paradoxical and dramatic elernof the Holy Sonnets and suggests that Devotions upon Emergent Oeca.r.hows "the degree to which orthodox Renaissance scientific thoughIrneated Baroque meditation" (p. 142).~g 525. W ASWO. RICH no. The Fatal Mirror: Themes and Tecllllrquthe Poetry of Flilke C reville. Charlottesville: niversity of ItPress. ix, 1Si p.Refers to Donne throughout, Compares and contrasts C reville's iPetrarchisrn and style with those of Donne: "In directlydenouncing woboth in general and in particular, he can evoke a frank and bitter ensity that would do Donn e credit" (p. 63). Suggests that Crcville i SlIpcto Donne as a religious poet becau c he "rises through the cxperienwhich Donne is perpetually engaged, the fears of judgment and hypothe passionate outcries for true contrition, to that experience whichin verse, never reached: the complete renun ciation of elf' (p, 1 1 )ments on Donne's "The Crosse" and suggests that its tyle "functionas a sensuous apprehen sion of though t or experience, but as a sen.avoidance of both" (p, 132). Suggests that, unlike Donne, Herbert "dadequately with redemptive psychology" (p. 133) by modifying the mphysical style.~g 526. WHITE, Cenru DE IV\., AmJ JOANC . Ro EN, cds. "John(1572- 163I):' in A Iv/oment's Monument: The DevelopmentSonnet, pp. - 1- - , . I e\ York: Charles Scribner's on .Traces the history and development of the sonnet in the Renai :'I(pp, 1-14) and anthologizes five of Donne's Holy Sonnets: "Thoumade me," "At the round earths irnagin'd corners," "Death be not pro"What if this present were the worlds last night?" and "Batter my h t

•\ Bibliooraph)' o{Cntici mintroducing each with a brief critical paragraph. Sugge ts that in formDonne adapts \ att and call thc 110/)' Sonnet · "unrivalled by any religiouspo itry in their extraordinary mixture of qur lities" (p. 51).~0 -27. ZIN , H ENRYI-: . "Echa odkryiica Kopcrnika w litcraturzc Angielskicina poczatku XVII wicku" [Echoc. of opcrnicus's I i covery inEngli h Literature at the utset of the XVllth Century], in MikolajKopetnik w kulturze urn)' iowe] epoki zel: pita [Nicholas opcrniusin English Intellectual ulture in hakespearci Epoch]. pp.11 9 -41. Wroclaw: Zaklad arodowy lrn ienia Ossolinski h WydawnictwoPolski j Akadernii lauk.I 01 that in England marc than in other countries Copernicus' thought\ readily accepted in the late sixteenth and early eventcenth ce nturies.Oi.cu e the reception of Cop rnican theory 111 • ngland and it influenceon both scientific thinking and literary vision. Comments specificallyon Do nne's interest in the new science ami points out that he usescicntific termin ology in hi poetry (pp. 129- 4). Stresses that Donn etried to reconcile his theological vi ion of the world with the changingcientific knowledg and sugg ts that he \\ one of the few En Ii h poetsof hi. time who had an awa rcnes of the cicntific intellectual r .volution.Cite. a few examples from Donne' poems and c pccially from Ignatiushi. one/ave to how that Donne' attitude toward Copernican though twa. ba ically po itiv . Points out that in hi ratire on the [esuits Donneview opernicus as an intellectual hero and predicts thai the RomanCatholic Church will put his work on the Index of Forbidden Books.19 3V!~ ~2 . A KmA, R'l'iJz- . "Donne no Light er e" [Donne' ight Verse].R OT/SO (Meijigakuiu Daigakuin Daigaku). no. 20 8 (June : 121-40.Reviews briefly the current state of Donn e studies and comments inparticular on the critici m of T S. Eliot on the metaphysical poets. Arguthat there i a tendency to read the OT/ and onet. lao eriouslyand uggests that man of the poem hould b read as "light ver e," citinga an example "Lo cr infinitene c."~~ 5 29. ALTIZER, AU\IA B. Selfand Symbolism in the Pcetr» ofivtichelangelo.DOT/ne. and Agrippa d'!\ubigne. (International Archives ofthe History of Idea , eri minor 10 . ) '111C Hague: i\ lartinus • ijhoff.xi, 117p.Di cu.ses the increating awarenc s of an alienated elf in the poetry oflichclangelo, d'Aubigne, and Donn e and argues that each f the threepact moves from a witty rhetorical mode 10 a profound ymbolic one.I laintains that, "increa ingly. the work of each poet center a ll a need toanalyze or aboIi h the gulf eparating ubjccl and object. elf and other"and that "underlying ilia t of their poem. is a profound self-con ciousness-

a heightened awarene s of elf as a powerful, separate entity, with .1responding obiectification of all reality outside of self' (p, vii). \ 1131thi progrcs ive movement by distingui hing between the uses of "celts" in their earlier poems and the uses of "eoneetti" in their later prthe first simply witty, highly ingenious verbal technique but the laway of profoundly apprehending truth. Devotes Chapter 3 (pp. (,9-1to I anne'. poetry. Traces the movement from "conceit" to "conccttihis poetry and argues that the later poetry embodies "a poetic-religivi ion of the paradoxical .elf at the center of a human community wbdimensions arc at once historical and mythic" (p, 69) . Demon ·tratdevelopment by commenting on "The good-morrow," "The unning," "T he Extasie." "The Canonization," 'T he Relique," "" valedictiforbidding mourn ing," La Corona, "The Litanie," the 1-10/)' Son nets,two Anniversaries, "Coodfriday, 16 13. Riding Westward," and " HymnCod my Cod, in my sicknesse." Stresses that the profound pocrns-c-'fl:not necessarily the 'best'-are those in which the poet's imagination senr Ifor new ways to symbolize the individual's relation to the world, new IIages of the relation between self-consciousness and its exterior ground"J01) and that these poems are "primarily symbolic, rather than rhclorior expressive" (p. 101 ). Emphasizes the inwardness of Donne' poethc carchc for unity, which he ultimately finds in his vision of h"who is at once the cosmic center and the center of human con ciousn(p. 10 ) and thus the self becomes the place where the two darn rntioned in " \-I 'I11ne to Cod my Cod, in my sicknes c" finally COI1\'Cr~ 530 . AHAKA\\' , ~VIITSUO . "Songsand Sonnets-Donne no AI nugaku" [Donne's Philosophy of Love-On Songs and one! .sllti (lppan Kyoiku) To hokugakuin Daigaku), no. 59 (juu ,.20 ,Cited in "The 1973 Bibliography: ' The Renaissance Bulletin 1'111aissa nce Institute, Toky o] 6 (J9 9): 46. Unavailable.~

19731 • 197DI' their brother, ir Roberl Rich, and argues that the manuscript isfir I draft, as Helen ••irdner suggest, but "a copy made from anI r I xt" (p, 492 ). Three plates: (1) recto of the manuscript, (2) ver 0man II cripl. and (3) a photographic enlargement of the opening of40 -·P- ~ . B.l N, F, W "A We Read the Livi ng? n Argument. II.Editorial Reply," E/C 23: 175- 7 'ply 10 Roma Gill (eutr 5 5.~ ) , who asks how teachers "call preventtoo a~r reading of poets of the pa l, rending them 'as we read the: without atthe .arnc time destroying the meanings that come Iroruognition and identifi ation of what is traditional" (Gill. p. 175).U tluit all great poetry must communicate some matter of es entiaII I interest and questions if a poem can be read separately as "art"1 as "life," Suggests that "the answer must surely be that a properly1~ ' response combines both attitudes" (PI', 177-78). Uses examples11 "'Ihe good-marrow" to exemplify his premise.Bl.t\: KE, IIII', AI..A • "Donne's 'Love' C rowth." Expl 31: Item11 part. a reply to tcphen [ . Ring, .J, [entry 360). Shows how 'Loves\lh" can be read ill three different ways and how it "works forcefullyU CIl ively, obscuring the tone so that each person hears what Donnehun 10 hear," cc the poem a dividing into two balanced halves:fi t tanza, the pcakcr prai:es piritual lovc, complimen hi mi ­nd introduce the theme of thc 'C and stanza; in the econd. the( di play hi libertine wit and exual pa ion. j .Jaintain that "the} ofthe poem is that Donne means all of these things anti has provenhb 100'c i pure by the truth of his poem, which has demonstrated thelricable commingling of the spiritual and the physical."~ - 4- BRr\DBHOOK. r" I UIUEL. "John Donne." Dome (Friends of St. Paulsathedral) 10 : 4- 9.mments on Donne's pcrsonnl confl icts and struggles and pre.cnts nral sketch of his life. Noles that [ onnc "conducted a grea t bridgingI, 11011 between mcdievaIand modern modes of thinking, and achievedJ icult re-integration" (p. ,), Suggest: that Donne's greatest strengthIII the depth and cnsitivcnc of his relationships' and strcsse thatII ion also "took a form intcn.ely personal" (p. 9)., - , BRr\i'o'TS, J, "Blad .rcnd in John Donne." Dietsche Wara"de enBe/fort : -07- 15,II ses Constanti]n Huygcns' eventecnth-century translation of

19 . [1973]nineteen of Donne's love poems into Dutch and comments on cntattentiun paid to him by various modern Dutch critic and tran latSuggc that Donne' u ual combination of religious devotion , lidci m remind one of Jacob Cats but note that in Cats' work one \111nnd D nne' profundity of thought, penetrating cxp re iveness. ,1IIe1sense of hu mor. Reprints Huygenss translation of "The Flea" and Ikclboorns translation of 'The Perfume" and sugge that in Ih IsDonne cxprc hi hatred of hi parents-in-law Prai in particul I\ ill," "'111C • xta ic," "'111C Legacie." and "The good-mort w' Rduces three elections from Eijkelbooms translations of one of Isermons delivered at T he Hague, part of "A Hymnc to Cod the foatland the sestet of "If po 'SOl IDUS rnincrulls" translated byThe un de n~~ 536. BRAY, RODEnT. "Interpretation, Criticism, and the ProblPoetic Structure: ' J\ilQ 14: 3 I 8-38.Argues that interpretation differs from and should precede criticismuses several stanzas from "A Va lediction: forbidding mourning" 10 illtratc the theory. trcs:es the importance of recognizing that the Pabout the parting of lover , not death, as one might be led to bcli .vethe opening stanza, and suggests that Donne creates his elaborate urnconceit becau e he "values love" (p, 33 ).,~ ,. 537. BRUMDLE, H. D AVID, III. "John Donne' 'The Flea': ' omplication of the Encyclopedic and Poetic Flea Tradition "15: 1.t7-54.Di cu . "The Flea" in the light of two major ource of nt;, Jshow ":111 approximation of the intellectual equipment a Renaiss n Imight have brought 10 thc poem" (p. 149): (I) that of the Renalencyclopcdi t and grammarian. who obtained their notion pnfrom cia. ical and medieval naturali t , such a ' Pliny, Aristotl • andtolomcus Anglicus, who "denned the flea as copulating without c ning and as being born of dust, without parents" (p. 149), and (2) tb . Iestablished tradition of the flea poem, originating with the pseudo- I"Elegia de Pulice" (attributed to Olilii Sergianii) and found III I rIDr. Faustus as well a in a host of Latin, English, French. and Ipoems. Presents a stanza-by-stanza analysis of Donne's poem to sl: \ !by using the tradition of the encyclopedists, the Rea poem, aud \\)reason, he creates a persona who "uses reason. perverse rea 011, for wends" (p. I - 2 ) and who reflects a t pc of spiritual aridity. uggc I tlfore. that the poem. although indeed witty, is also omcthing mnotes that the \ it in the poem re ides in its "u e of tradition r,ltb rin any disregard of tradition" (p. 153) and perhaps is intended to 111as well a ' delight the reader.~ 53 . ARLS N. l ORMAN ' . "Donne's 'HolyItem 19.

~'~~ l!2 les t that in " h, to vex me, contrarye mcct in one" the yntactidifficultline 7- (" . ridling disternper'd. cold and hott, / s pray-.1 mute; a ' infinite,;I non e"] becom e clear if one recogn izes thatmplify line 5-6, "cataloguing further points of similarity betweenntritione' and hi 'prophane love,' and that the phra e 'cold andIII line - i both logically and gramma tically parallel to praying-muteinfinite-none in line ," Paraphrases the lincs thusly: "My contritionriddlingly distempered, as cold or as hot, a my profane love was, andntrition. again] is as praying, sometimes, and as mute, other time ,profane love W;lS, and it [111 contrition] is as infinite, some times,none [which is to say, non -existent] other time , as my profane loveuggc that by reading linc 5- "as an extended. multifold COI11­n b tween D nne' contrition and his profane love not onlj di pelntaclical ambiguity, but also, by suggesting an ironic series of pos-1 allusions to his own earlier work, makes the sonne t a more interestpoem than critics have apparently considered it to be."9. CHATTERJEE , 1\. B. "John I DIme' Twiclmam Carden: An In-I rprclation ." Q 39: 17 2 - 3·c~ that "Twicknam garden" is not, as commonly thought, a poemcurtly love tradition and, furthermore, that it has nothing to doLucy, Coun le s of B xlford: "Someone gave a title-rather unwar-·dl '- to a poem to which till: poet had given none, and then allI to interpret the po .m in the light of that title!" (p. 179). ces thea typical of [ anne, "one of broken a ignati on" (p, 1 0) and of- nger like The Apparition), lightheartedly cynical and touched byrtt 0 - fun behind its h w of pas ion" (p, 17 ). Argues that the aim ofrn i to "convince the beloved that the union of lovers i the mo t1I1 thing and there is 11 0 sense in trying to avoid it" (p. 177) andlively iuggests that the poem may have been addressed to Ann Morerc he married Donne.- 0 CLARK. JOliN R.. :\, D A,'N:\ Mor ro, eds, "Toward the Appreiationof . atirc,' in atire-s-Tha! Blasted Arl, pp. 1-:!. 3 . New York:'. P. Putnam's Sons; New York: Capricorn Books.I ISCIISSCS "Song: ...oc, and catche a falling starre" (pp. 7-10) as an cx­I of paradoxical disruption and parodic debunking. Notes that evenlllc of the poem has a parodic function , since the poem i only u­I By a song. Concludes that Donn e' uccess "lies in hi deliberatetptions: He promi e. a .ong but deliver a jeremiad; he advise arthood flower, onlv to divest him of his vocation and ideals"; and hisI nee "i hit for liking lillie songs, women are rapped for not beingibl romantic ideals, the vacillating speaker himself i inerimi­, and knighthood (long after its dcrn i e) is heartily deAm crcd" (p,

20 0 ' 11 973 1.. " 4 1. CLI,'E. CLORIA 'TARK, AND JEFFREY A. BAK R." anne." JIIndex to Criticism of British and American Poetry, pptuchcn, T,J.: Th e carccrow Press.Li ts eight)' item on Donne from 1960 to 19undergraduate tudents... ,.p. CO. I':RAIU> 1-1.. III. "Donne' Devotion : A Mcdi tat: 'qucncc 0 11 Repentance," HTR 66: 33 1-5 I .Argues that Devotions upon Emergent Occasions i not onlya enrncditr tion. 0 11 Don ne's phy ical and spiritual condition but also N,cquencc a ll repentance that i aimed at a public audience" (pI is usscs how Donne Ireat. hi recovery from illne s "a a return I r:of gra c that would in turn look forward to eternal life" and huwresulting sequence of meditations, expostulations, and prayers leadthe stages of repentance on the purgative way to spiritual perfectioi35). Shows that, although the work is highly ordered and is hnscdtripartite meditationul structure, it is not specifically lgnatian. ,, ~ h ilalleged. Argues that I onne use neithe r the allegorica l nor the f urmethod of criptural interpretation but rather employ "the cquallfi gural method of interpretation used by the Church fa thers" Ip. uggcsts that Hooker's treatment of repentance ill Of the /,(111'. o{/'asiical Polit ' ''i valuable for reading the Devotions because It c t;thov an , nglican might understand this subject and how he 111 1 Icertain principles to order thc 'way or method' of rcpcntanc " Ip.Trace. the carefully ordered progression toward rcpcntan c 111 tl clions and conclude that "the figural method relates Donne's phYSIC IIne s and recovery to his spiritual sinfulness and recovery throu htanc " while "the meditative trueturc move the emotions appropr iattaining the stages of ontrition. confession and atisfactiou" (pIV'! ~ 543, Cnorr, P. J. "[ohn Donne:' in Autograph Po trv ill ti't' ELanguage: Fac imile of original manu cripts from tire Fourt Ilttile Twentieth Century, compiled and edited with an inlroducommentary and transcripts by P. J. Croft, I : 25-26. NewMe raw-Hill Book 0.; Oxford: Oxford University Pre s.Limited edition of 1, 5° 0 copies.Reproduces a facsimile of the manuscript of Donne's vcr:c I'lieappears in the 16 ';3 edition under the title "A Letter 10 the ladvnile! Mrs :.s ex Riche. From myens" (Bodleian Library, ~ l. , loll .d. I t) ), with tran cription. Presents a history of the transrni ionnu nu:cript and a detailed bibliographical description of it. •v. ththe onl known •ngli h poem ill Donne' hand and cornmcntures of hi handwriting. Argues that. although Donne c1carl~ drafpoem before writing the present final version. he wa till ob IOU 1gaged in poli hing his text, as i indicated by several revision .md

Bibliograph)' of Sriiicism2 01ns,especially the significant revision of line 14. Notes that, in additionmall verbal variants, the manuscript copy contains man y differinpunctuation. use of capital letter . and layout from the text preedby Wesley Milgatc (1967).• -44. Dtvr: E, JAY DEAN. "Compass and Circle in Donne's 'A Valedicion:F rbidding I louming. '· PLL 9: 78- 80.hows that the figure of the compass and that of the circle underlie theI tructure of "A Valediction: forbidding mourning" and together "giveI thematic unity and make it, indeed, a great poem" (p. 80). Arguesthe figure of the circle. "a universal symbol of eternity, of Cod , andU1t~, beginningand end of all created things," is reinforced by the visualgure of the compass, which re-create visually the Alpha and Omega of.reek alphabet and reminds the reader "of the wide use of 'Alpha andmega' in ecclesiastical literature as a tcn n signifying both 'completeness'1the omnipotence of Co d" (p, 79). Suggests that the visual image of. compass reinforces nnd affirms "the presence of Cod in a love whosetil is spiritual" (p. 80). Further suggests that, since the Alpha is a phallicma le image and the Omega is a female image, I:he compass suggestsphysical love is a necessity of hum an love and that love, even ifiritual. "become. complete only with the acceptance of the physical"ip -C)-80).• -4- . Do 'E, JOH . Deaths Duell; a sermon delivered before KingCharle.~ I in the beginning ofLent J630/3 J by Dr John Donne, lateDean o{St. Paul's, edited. with postscript, by Ceoffrey Keynes Kt.London: Bodley Head; Bo ton: David R. Codin e. 54p.xt of Deaths Duell, based primarily on the 16 6 0 folio. with modempellingsand the elimination of italics (except for quotations. Latinrei and proper names) (pp. 1- 26). A postscript by the editor (pp. 27­::, followed by a list of readings taken from the quarto of 1632 in prefereto those of the folio of 1660 (pp. 53- 54). Discusses Donne's effecn. a a preacher in general and comments on contemporary acuntof his sermons. Examines the circumstances in which Donne:t .hcd, the usual seventeenth-century practices in composing and deeringsermons,and outlines the history of how Donn e's sermons camebe preserved. Discusses in particular circumstances surrounding theIi cry and publication of Dea ths Duell and presents an analysis of thetance, language, and rhetorical strategy of the sermon. Discusses alsohistory and design of Donne's monument in St. Paul's Cathedral andengraving executed by Martin Droeshout that was prefixed to Deaths~€llwbe n it was first printed in 1632 . Five illustrations.-46 . Dzhon Donn-s-Stikhotovoreniia, edited by B. Tomashevkii. Translations and introduction b. B. Tomashevskii. Leningrad;"Khudozhestvcnnaia literatura" Leningradskroe otdelenie. 168p.

Anthology of Donne's secular poems in Russian. Presents a briefgraphical sketch of Donne, surveys his early critical reputation, andments on his modern discovery (pp. 5-1 6). Divides the poems into 1categories, suggesting that each parallels a period in Donne's life: lheIlyrics and elegies, the satires and verse epistles, and the rcligio-philosophipoems and sonnets. Comments on Donne's rejection of Pctrarchismhis uses of metaphors and images drawn from the new science. Suthat Donne's major theme is love and maintains that in his love poetnvoices a protest against the morality of bourgeoi society and the rlions of the medieval Church. Suggests that the Elegies containocial criticism and present vivid details of London life and maintainatyre I (the only one included in the anthology) is an attack on Lasociety, particularly on the Puritans, whom Donne i aid to have .erepresenting the hated bourgeois society. Notes that the new scion .naled to Donne the end of the medieval world view. Sees him as IllUfrom Renaissance optimism and individualism to a later baroquemism as he turned from the world about him to religion. Notes that Sreaders are familiar with Donne only in brief passages. TranslatRussian selections from the Songs and Sonets, the epigrams, the Ell!;.Sai yte I, and several of the verse letters (pp. 19-1 ;7). I otes (pp 1­68).~ £) 547. . Lucie in the Sky or Darkness BefoTe Light. Printedpublished at the lxion Press, Loughborough for the Beaupertuciety by Frances Mary White. Susan Margaret Shuetter, CathShaw, Alan Robert Phillips. 8p.Limited edition of nine numbered copies.Reprints "A nocturnall upon S. Lucies day" (pp,"Easter Wings" (pp. 6- 7). No notes or commentary.~ ;48. . Ten Love Poems b)' fohn Donne. Original etchingChristine Tovey xeter: The Octavo Book-Pre . 47p.Conta ins a brief biographical introduction (p. 3); a 'hurt intr duto the love poems (p. 5); and reproduces ten poems with modem p IIeach of which is accompanied by an etching: "The Baile," "A [eat Rcnt," "The Blossornc," "Airc and Angels," "His Picture," "The UIRising," "Song: Sweetest love, I do not goe," "The Flea," "Elegy:Dream," and "A Lecture upon the Shadow."~ 549. FLYNN, DENNIS. "Irony in Donne's Biaihanatos and Plartyr" Recusant Histot» 1 2 : 49- 69.Suggests that Donne's obscs ion with suicide and martyrdom evidenin his poetry and prose may be attributed, in part, to hi Catholiground and education that Iinally led him "not into the path of rightfidclity, but to a bemused fasc ination with death by self-murder, a cava]irony that is one of the hallmarks of his style" (I'. 49). Reassesses Dom

[197 31 ' 2 0~111 Biathanato:and P eudo-Martyr. "two diverse though related books"pre "a di play of outward indifference or cynicism. an appearan eilici rn toward both sides" (p. 49), an attitude common among forlholic:of the Jacobean period. Maintains that both works are funntally satires on religions controversy. that in both Donne employslcs and citations that "seem to cut with a double edge and to [estI they appear to argue ' (p. 50), that both consciously parod ' techrnployedby the controversialists "by making use of conventionalt ry apparatus to conceal their atiric barbs," that "both were predhII anne in letters to his like-minded friends as ironical commen tsr li ious controver y in England rom a point of view of apparentI 111 toward both ides," and that both. "while they protest their ownI h rwardncss, evoke from eriou di putants charges of [ightne s andrity" (p. 66). Sugge ts that Biaihanatos i an ironic blend of learn­T! I yuicism, a satire that contains specious and irrelevant argumentsbSllrd examples and that toys ironically with orthodoxy and scripnsidcrsPseudo-Martyr as a satire specifica lly on the controversyrnding the ath of Allegiance and as a parody of partisan writersir Edward Coke. the attorney general, who had disputed theof the church in ecclesiastical jurisdiction with the Jesuit RobertPain out that "consideration of only a few aspects of P eudo-'I' hows that the King's cause in eriotl controversy was certainlyrved well by thi. book" (p. 66). Concludes that both BiaihanatosSCIlc/O- 'fortyr suggest that Donne's attitude toward religious .ontro­"was one of wry and ironical detachment, expressed in the same sortpli ism that can be found in other writings of 'Jack Donne'" and that, 1I t a peculiar light on the sincerity of Donne' nominal Anglican-In 160 to 161 0 " (p. 67).co. ---. "T he Originals of Donne's verburian Ch aracters."B ) PL 7T 63-69.el~~I~ ·t that the satiric attack on the dunce in Donne's 'T he Truet r of u Dunce" may have been direct d toward Thomas oryatc,uri Ie tel' of Prince Hen ry, or, "if not personally at Coryatc, then atJIId of person he exemplified at the Court of James I" (p. 67) and thatn \ "The Character of a Scot at ,.irst Si tht' may have been a satirick on King James I. Suggests also thai the 'Ibm. Thomey referred tohnracter of the Scot may have been one of James's gentlemen ofr\f~ Cha e.1. FRIED IAN. D OSALD M , "Memory and the Art of Salvation inmile's Cood Friday Poem." ELR 3: 41 - .p .. n a detailed analysis of the argumen t, the rhetorical and dialccigur.Ihe syntax and rhythms, and the dramatic persona and struc-" odfriday, 16 13. Riding Westward" to show that Donne killdramatizes"the specious appeal of rationalizing intelligence and th

John Donnecreations of verbal artifice" (p. 437) and shows "how true devotion kindledby C od's grace can lead a sinful, but self-consc ious. soul from the pridefulgrip of inadequate knowledge to the light and clarity ofremcrnbered' wisdom"(p. 426) and toward "the restorative path of confe sion and prayer"(p. 437). Traces how. throu gh his projected persona, Donn e dramatizes"the speaker's discovery of the soul' deeply embedded power to recognizetruth no matter how skillfully, or for however apparently beneficent motives,it ha been disguised and distorted by the self-protective reason" andreveals how the speaker, through the lise of memory, descends "from theheights of intellectual ophi tication. through the dawning realization ofhis weakness, to the fi nal acceptance both of his sin and his sole culpability"(p. 4 39). Main tains, however, that the poem is not simply an attackon poetic artifice and the rational intellect but is a dramatic exposition of"the futility of relying upon them " to obtain salvation and a disabusing ofthe humanconscience "of a mistaken pride in the power of the mindunaided by God's grace" (p. 442). Concludes that for Donne "to usc thepowers of reason and imagination to reveal their incompleteness for thetasks of faith is to come very close to solving the problern of devotionalpoetry" (p. 442).~ ; 52. GARDNER, TA.l'lfLEY. "Love in the ixtecnth Centur ," EIC 23:·t3 ;-4°.1\ reply to Raymond Southall (entry 509). Suggests that there is anessential link between Elizabethan ostentatious display of wealth and powerand the rich, ornate style of Elizabethan poetry but rejects the notion thatthe cause is incipient capitalism, as Southa ll's article might imply. Arguesthat when Elizabethan poets "extolled their mistresses in terms of '. uperlativcexpansivenes s' they were surely seeing them as conveying or exemplifyingstatus" (p. 436). Suggests that in his poetry Donne. perhaps morethem in most, is questionin g relationships and values ami thus it would be"misguided, and misguiding, to suggest a formula \ hich associates Donneuncritically wi th the jewel-box poetry" (p. 436). For a reply, see F. W,Bateson 's editorial comment (EIC ~3 1 1 9 7 3 ] : 440).~ 553. C ERAIW, . LBERT. "John Donne et Ie rnunierisme: La structurescolastique de The Extasie" in AplmJach e .~ de I'art: lvlci/angesd'esthetiqlle et de sciences de Lart offer fs ci t\r.~e l1e Soreil, Pm{esw!uremerue de I'Universit« de Liege, prore .~seur d !'Institl!t superieurd'histoire de I'art et d'archeologie de Btuxelles, pp. I 1- 3. Bru cis:La Renaissance du Livre.Explicates "The Extasic" and explains in particu lar the hifting relationshipsbetween the body and the sou] in the poem. Observes that in line1-20 the emphasis i. on the body. which has a soul; in line 21-48 theemphasis changes to the soul, which has a body; and finally in lines 49­76 the bod · and soul are viewed as co-equal partners. uggests thai thishifting is characteristic of mann erist style, which oftcn consists ill an

A Bibliograph )'o{ Criticismacute consciou ness of a split between bod ' and soul. the real and theideal.~ 554. GI LL, Ro 1:\ . "As \ e Read the Living? An Argument." EIC 23:167- 75.Question F. R. Leavis' prem i e that poets of the past sho uld be readas if they were living. Argues that, although a poem like "The good-morrow"may cern at first quite contemporary, "we mu st allow the poem to lead usback-back from the initial impact when we read 'as we read the living'­to conside rations of the period when it was written, when medieval andmodern mod es of thought were in collision" (p. 170). Expresses concernabout those un dergraduate stude nts who demand "sincerity" in poetry,who insist on biographical inte rpretations, and who have lost a sense oftradition in poetry. Poin ts ou t that it is not eno ugh to read "The SunneRising" with out un derstand ing the tradition that informs the poem : "thefullest enjoy me nt of thc poem is depend ent on a recognition of the traditionto which it belongs-and which it pro udly rejects" (p. 173). Poses thequestion , wh ich she cannot answer: "How can we prevent the too easyreading of poets of the past, reading them 'as we read the living', withoutat the same tim e destroy ing the meanings that come with the recognitionand identificati on of what i tradit ion al?" (p. 175). For replies , see F. WBateson (entry 532) and . W Dawson , Harri et Hawkins. and Rob ert Elliott(entry 63 2).~ 555. GRANT, PAT1UCK. "Do nne, Pico, and Holy Sonnet XII." HAB24: 39-4 2 •Comments on I a nne's knowledge of and indebtedness to the theologicalwritings of G iovanni Pico de lla M irandola and notes hi man y referencesto and u e of Pica in Es ays ill Divillit)' and Biathanatos. Arguesthat Pico ' Heptaplus ( q 9), e peciall y Book 5, cha pters 6- 7, may be thesource of"vVhy are wee by all creature ' waited on?" Show tha t "not ani.are the broad outlines of the argument and the particular ordering of itsparts similar [to Pica 's], but to C1 significant degree deta ils of the wordingalso" (p. 4 1). uggests tha t recognition of the source confirms Don ne'sinterest in Pico at the time he was writing the Holy Sonnets; that it "illuminatesa point of detail in the poe m by di recti ng our atte ntion th roughthe 'greater wonder' 10 the implied an swer made explicit in the Ueptaplus,of man's reason as his special gin. mar king him off as the 'magn um rniraculurn'of God's creation"; and also shows that. like Pica , Donne "i:fascina ted by the paradox that man is spec ial to God' creation, and yet ia rebe l again t that very creation by hi sinfulness" (p. 41 ). 1 otes thatDonne's dramatizing of Pice' argume nt "poeticall y complicates the reader'sreacti on," for "man is sho wn a a great wonder despite him self; thequ estion s he a ks arc evide nce of hi pecial statu , while the very fact thathe feels compelled to a k the m reveal the flaw of his fallen ness" (p. 4 1).

206 . (1 9731Point out that "the pro eS5 of the poem thus extends our cxperieuyond thc comprehension of its dramatized speaker" (I'. 4 I ).~ '" ~ 56. CREE B 1T, D \NIEL L. "Ccnerativc Metric ' and the AutI. hip ofThe Expostulation." Centrum 1: 7-104.Emp loy the method of metrical analy is developed by Halle and. er and use metrical data obtained from a computer-ai ded ca ll I"The Expostulation" and other elegies by Donn e and Jonson to ~h \Donne did not \ rite "The Expostulation" and that Jon on po ihlNotes that "the po. ibility of The Expostulation' and the sample of Ifelegies coming from the same population is less than .01 a cordinicvcml tatistical tc Is" and that "all control te Is comparing thesample with a [ onne elegy of comparable length yielded values o pthan . 10 that the samples were drawn from the same population" (pPoin ts out, however, that "all tests comparing 'The Expostulation' \\isample from Jonson's elegies also yielded values of p greater Ih:1I1(I'. 87·~~ 5-7. G UPTA, . "Donne's 'A Valediction : Of Weeping'

[1973] • 207lion style "is the perfect coincidence of style and mode of thinking.1J h is found. Donne says, in 1. Paul's 'elegant language'" (p, :27).• --9. HOLl.ANDER. JOH " AND I'RAI K KERMODE, eds. "John Donne:'III The040rd Antho/og)· of English Literature. vol. 1:The MiddleAges through the I ightecnth entury, PI'. 1015-64. 1 ew York: OxfordUniversity Press.ucd in a separate volume: The Literature or Renaissance Englande xford Anthology of English Literature, vol, 2), pp. 515- 64. New': xfo rd niversity Press, 1973.ontains a brief biographical sketch, a general introduction to Donne'st '(ami to a lesser degree to the prose), an analysis of his religiouslopment and sensibility, and a brief survey of his followers and his1 al reputation (pp, 101 5-19), followed by selections from Juvenilia,Elegies, Song.~ and Sonets, Satyre III, The second Anniversary, Holymets and other Divine Poems, Devotions upcn Emergent Occasions,1"/\ Sermon Preached at St. Paul's for Easter-day, 1628," all with notesiP 1019- 64). Suggests that combinations-c-rof apparent spontaneity and11 drawn ratiocination, of amorous clan with verse forms of wantonlyenious difficulty- characterize the finest of the poems to a degree thatthem apart from all predecessors and imitators, no matter how cotlyresemblances are argued" (PI'. 1016- 17).• - (j . J-10 LTGE, KARL J 1,:1'. "Donne at Aix-la-Chapcllc." Anglia 9 1:~ ;-86.ole. that in one of his ,crmons delivered at Lincoln' Inn. Donneent an amu ing description of a house of Anabaptists in whichta ed during a visi t to Aix-Ia-Chapclle. Argues that Donne visitedCerman town in 1612. , durin g his tour with Sir Robert Dru ry, not in9 when, as chaplain, he accompanied Lord Doncaster's Embassylh princes. Notes that after 1614 the Spaniards occupied the town,tor d Catholicism, and ordered all Protestant ministers and AnabaptistsI ave.~ 561. HUGHES, K. J., AND PETER M. HOROWITZ. "Organic Biography:The Death of an Art." IBS 12 , no. 2: 86-1°4.uggcsts that biographies written from 1640 to 1851 , such as Walton'sVC ', are "universally rega rded as works of art but castigated in varyingees for the alleged unreliability of their facts and thus for their deparfromthe straight and narrow path of truth" (p. 86). Argues that theyHI fact. "part of a tradition that critics have consistently failed to untand'(p, 86). Reviews twentieth-century concepts of biography and, llenges those critics who, while supposing an evaluation independentII) preconceived conceptual chcme. actually impose one that perhapspl. differs from that of the early biographers. Argues, for instance, that100' Lire of Donne was written from a pre-Restoration, Anglican-Roy-

alist poinl of view and based on a conceptual scheme that differs frois not necessarily inferior to those of modern critic.. hnllcnges,fore. tho:c critics who charge Walton with having "created great arthat his facts arc wrong:' or who claim that he "strayed from the ptruth," or that he simply transformed Donne "into a . p . 'It: of An IIaint" (p. 97 ). Argile that \\ lion cho eta ernpha ize cxact lv tho eof Donne' life that he can idered important and that, ev n thoughern critics may wish to know more about Donn e as poet or a I\ alton was "much IIlOTe concerned with the Doctor of the Churchthe lov r of ,ad" and thus attempted "to catch the Dean of l. 1.IUIan nglican Royal ist t -pc" (p. 97). Discusses Walton', Life of DOll"well as .evcral other pre-l 5 1 biographies, as examples of "organiraphy" and list twelve charac teristics of the type. such a unity lJand thought. the presentation of the subject as an embodiment oftype. the bio raphers direct or indirect acquaintance \ ith the ubje Ibiographer's willingness 10 make value judgments, and the close rclnllof biography to other literary modes of the times.

A Bibliography orCriticismDonne (entry _p I). Particu larly approves of \ViIliam Empson 's essav illthe Fiore collection (entry 4 16)."'

210 • [1973]76); (7) libraries consulted (pp, 377-80), (8) printers and publi hers, T1719 (pp. 3 1- 2); and (9) index (pp. 383-400).~ ;67. . " Footnote to Donne," BC 22: 16;- 6 .Suggc t that the twenty-line unsigned elegy, "An Epitaph on onthat \ as first printed in the first edition of Death s Du ell (1632 and \later entitled ,. n the death of Dr. Donne" and signed "Edw. Hyde" In1633 edition of the poem should be attributed to Sir Edward 1-1 J )Lord Chancellor, and not to Edward Hyde (16° 7- 1659), a Royallvine, whom Crier on, followi ng the suggestion of Charle Eliot ridentified a the author. Futher suggests that MS EH of Donne's phas a ignature on the fl yleaf that matches Sir Edward Hyde'. ignatuthe Matriculation Subscription Book of Oxford University under th31 January 1622; that on the flyleaf is also written "On the death ."On the death , . . ," "On the , .. ," the first two or three wordsheading of the elegy as it was printed in 1633; and that the num] rdoddlcs on the Ayleaf-many m's plus the words mame, nlul'-pcrhsuggests Hyde's awareness of the awkward repetition of sounds ill linof the elegy, Concludes, therefore, that Sir Edward Hyde "was thinabout Donne with his poems in front of him, when he wrotc ' Ideath' among the doodle covering the fl y-leaf "(p. 167).~ ;6 . K BAYASHI, AKAE. "Washi to Hato no iru Buntai" [Ern 1ati t ·Ie with Eagle and Dove]. Oberon 14: 4 - 61.Di.eusse Donne's use of the emblem tradition. e pccially in "1 honization.' uggest that his direct borrowing of imagery from thblem booksof his da. is fai rly limited, but acknowledges their indir Igeneral influence on his poetry."4~ 5 9. \ BRIOl , ALBERT C. "Donne's 'The Canonization': Ilogical Context and Its Religious Imagery." HLQ 36: )27-3Interprets "The Canonization" in the light of Donne's erm IChristian iconography to explain the theological context of the po Jilluminate its religious images, and to elucidate the range of Donnthat "moves freely between playful daring on the one hand and bblasphemy on the other" (p, 327)' Argues that the two lovers of Ill ' p"will be venerated as saints because their relationship resembles IIIvi nely 'mysterious' Idea of love that is trinitarian unity"; thnl, "likDivine Persons, Donne's lovers exemplify unity, wholcncs , and s I'ficiency": and that "each lover. in short, becomes identical with the Ilike the Father and on are depicted alike in some iconographicalentations of the Trinity" (p. 330). Discusses in detail how the Jillthe dove, eagle. and phoenix relate specifically to the theologicalof the poem. 'otes, for example, that "the subtle interplaybetweenand religiou connotations of the dove is ironically exploited" .1"this allusive irnag enable the speaker to liken sensuali III 10 pltl

nd to u est re emblance between hi loving relationship and trin­I n unit ," (p. 333). Argue. that the speaker of the poem contend: that10 ('f~ have achieved sainthood because of their uni tive relationthroughwhich they have become alike by exchanging identities;ugh which each i joined to the other and both. in turn. will be unitedod: and through which both, like saints, will ascend toward heaven"~ -I.o. LEG UI , PIE lm E. "Donne Through French Eyes," in A~p ect sdu 'V II"Sii?cle. pp. 33-54. Paris: Librairic Marcel Didier.urv y Donne's reputation in France durin g the past fifty years or . 0n originally in 1 9~ 3) and points out that ego uis is the only " rcuc h­o have \ ritten a volume solely devoted to I onne (Donne the emfts-I CJ=! ' J i ell e thc reception of this study among Donne scholarsttcmpts to an wer ome of the criticism that wa leveled against it b111 1 ~ ll g li sh und American critics. Comments in particular on his readingrile I',xlilsie" as a seduction poem and the subsequent debate that itI ned, c pccially Merritt Hughes's "Th e Lineage of 'The Extasic'"R 2- h 9 ~ 21: r-s). Po t cript I (written ill 1963) urv ey th moreI dditions to the debate on "T he Exta ic," and Postscript II (written_I survey • et newer com ments on the debate.I LbWALSKI. BARBARA K." Donncan Perspective on 'The sxta­1 (; : "l ~.LN 10 : 25 - 62,I ws briefly the critical debate and controversysurrounding I onn e'sfro m the celebration of eoplatonic love to physical lovemaking in, '1'1 ie" and notes that "the issue is whether this shift constitute a• Ill] illogical di junction in the poem : argument or whether theIII incon: istency can be explained in terms of some generally cotmetaphy ita I po ition" (p. 2 -9). rgues thatthe conclusion of therupha iz "that the body is the ouls proper organ. its only mean.It III the world in thi our human condition. with the further ug­II fha t the lovers have a profound re pon ibility for such action inurn II community" (pp, 260- 61). Poinb out that the basis of D nn .I rent an he found in hi own resurrection cnnon on 1 Corinthian• 111 which he enunciates characteristic Protestant assumptions "nhoulhf" of action and social responsibility which is proper to our createdur .. (p. 262 , Concludes that in "The Extasie" (bul not in the sermon)I hliqu ·Iy suggcs . "that the Chri stian rnystcrie: of the Incarnnlionnpturc revelation are proper models for the c piritual lovers inI ion to man ife. t the perfection at ained in the realm of the .piritexalted domain of the body" (p. 2 2 ).- - - . DOl/lie's Anniversaries a1/(1 the Poetry of Praise: The p~/'ratlOll of a Svmbolic i\tlode. Princclon: Princeton Universitv Pre . .).."2 l{Y, . ~ pix, ,R6p. L 0

Proposes "to identify and analyze some of the traditionthought in sixteenth- and cvcuteenth-century cpideixi , in Protmeditation, in biblical hermeneutics, in funeral sermon (and special!Donn e's own practice in these arts) which gave rise to the A,I11;Vpoems and their distinctive symbolic mode" (I'. vii). lntroductiou Ipp •8) outlines the basic organization and purpose of the study and Irthat central to the study i. how the Anniversaries transformed umtional praise into a symbolic mode. Divided into four major section"Literary Contexts and Donn can Innovations" (pp, 9-70), (2 "Thecal Con texts and Donnean Developments" (PI'. 71-21s). (3) "TIlbolic Mode of Donne's Anniversaries" (pp. 21 - 30 ~ ) , and (4) "Thof Donn e' Symbolic Mode" (PI', 305-70). Chapter 1, " ontemEpideictic Poetry: The Speaker's Stance and the Topo; 0 Praise" (pp.4 I), surveys the theor and practice of English occasional cpidcictietry from 1595-1616, pointing out "what is unique about the Ann1\'epoems, what traditional assumptions and poetic conventions they call uand what strikingly new directions they define" (I'. 14). Noles IIwiAnniversaries in many ways resemble contemporary poems uf c nment but observes that their striking differences "reveal that 111 jumost fundame ntal matter, and notably in regard to the conceptiprai e itself, Donnc ccrns to be marking out a new direction" (I'Chapter 2 , "Donne' Poetry of Compliment: ! 'lcditativc peak r-rnbolic Subject" (pp. 42- 7° ), examines Donn e' Epicedes andquies and verse epistles to patronesses in order "to define the ki nd ofpDonn e characteristically accords his subjects, whoever they arc," anidentify "just what is significantly new in Donn e's conception and prowlof poetic praise" (I'. 43). Notes that Donne's SRe;Jker characteri.Iicallva meditative stance toward his subject and that "the prai e ar n Irected to t h~Rcci fic moral qualities of particular individuals (as wet 1Jon on' but rather to the poten tialitiesof the human soul j! imaCod" (I'. 70). Chapter 3, " Prete tant Meditation and Prot tant c(pp, 73- 1°7), urveys conte mporary English Prote. tant theory antice of meditation (in contrast to Catholic) and the developmentProtestant sermon and argues that Donne's "conception of meditafevidenced by his sermons and his own meditative exer isc, the Dcl' tupon Emergent Gccaslans, appears to have been shaped by these Itant emphases" (pp, 83- 84) and that they inform the conception of 11itation that can be found in his complimentary poems as well

Bibliography o{ Criticismcatcd. embodied, in the person who is praised in the poem and then it isapprehemlctl D)' the s p-ea k~ r (and his a~or )' ) throllgli -meditntion Ollihnlperson" (p. 107). Cha pter 4, "The Ordering yrnbol: The Restored Imageof Cod in Man" (pp. 10 - .p ), urvcys Protestant theology on the notionof the Christian a the re tured image of ad and argues that Donn e',ordering ymbol in the Anniwrsories is Eliza beth Drury as the regenerateChristiall:-" wllcl in some scntial ways recapitulates rc original innocencebut also urpasse it in respect to the nearness her regenerate conditionhas to heavenly perfection and the purchase that state gives herupon heavenly glory" (p, 140). Chapter -. " -mbollsm and Hermeneutics"(pp. I.P -73), suggests that I onnes typological syrnboli m is closelyrelated to Protestant hermeneutics as reflected in his own sermons andtheological writing that reflect Protestant th .cry about allegor . and figurativelanguage in Scripture. j ate that Elizabeth Drury "i: made a typeboth of the condition of original created perfection and-or the heavenlyglory to come; her untimely death is a typ

214 • [197 3] John DonnePoems: Major Poetic Responses and Re-Creations" (pp. 337-70), surveysthe influence of the Anniversaries on Jonson, Dryden, and especi allyMarvell's " Upon Appl eton House." Index (pp. 371-86).~ 573. LEWALSKI, BARBARA K., AND ANDREW J. SABOL, eds. Major Poetsof the Earlier Seventeenth Century: Donne, Herbert, Vaughan,Crashaw, Jonson, Herrick, Marvell. Indianapolis and New York: TheOdyssey Press, a Division of Babbs-Merrill Co. xxxv, 1330P.Contains a general introduction to earlier seventeenth-century lyric poetry(pp. xix-xxxi); a selected bibliography of studies of seventeenth-centurypoetry and its backgrounds (pp. xxxiii-xxxv);an introduction to Donne'slife and poetry (pp. }-1 5); a selected bibliography of editions ofand studieson Donne's poetry and his life (pp. 16-17); extensive selections from Donne'spoems (incl uding the complete Songsand Sonets), with explanatory notes(pp, 21-17° ); an introduction to and selections from musical settings ofDonne's lyrics (pp. 12°9-21); textual notes on the Donne poems includedin the anthology (pp. 1269-79); and an index of titles and first lines (pp.1301-30). The general introduction (by Barbara Lewalski) outlines majormodern critical trends in the study of early seventeenth-century poetry;notes the modern tendency to break down the rigid dichotomy betweenmetaphysical and early neoclassical poetry as well as to ' relate Englishpoetry to Continental poetry of the period; comments on the trend toreevaluate the poetry in terms of genre and individual authors, "divertingattention away from broad generalizations about common features of styletoward the unique poetic experience which each of these poets can offer"(p. xxvii); and discusses the relationship between the lyric and music. Theintroduction to Donne (by Andrew J. Sabol) briefly outlines Donne's lifeand comments on the major characteristics of his poetry. Stresses that it"is ordered to display the variety of human experience rather than to definea unified perspective on it" and that "the range of Donne's poetic andimaginative sensibility is revealed in the way he perceives and treats thesehuman experiences of love and religious devotion" (p. 5). Discusses Donne'sachievement and sources in various poetic genres-the satire, the loveelegy, panegyric verse, the love-lyric-and surveys his essential philosophyof love. Comments also on his religious sensibility. Suggests that "atthe heart of Donne's surprising and daring and witty effects is an imaginationthat constantly conAates and incarnates the great universals intothe particulars of human experience" (p, 14).~ 574. LOVELOCK, JULIAN, ed. Donne: Songs and Sonets: A Casebook.(C asebook Series, gen. ed . A. E. Dyson. ) London: Macmillan. 256P.Introduction (pp, 11-29) presents a biographical sketch of Donne, commentson the essential characteristics of metaphysical poetry in general,and considers Donne's poetic individuality, especially as it is revealed inthe Songs and Sonets. Notes that his originality stems primarily "from hi sfreedom to draw on a number of different conventions and to adapt them

A Bibliogra IJh )' of Criticism [1973] • 215to his own peculiar voice" (p. 18) and suggests that, although original,Donne is al the center of English poetic tradition. Defends Donne againstthe charge of being obscure. too learned, and often unrealistic and notesthat, "because the Songs and Sonets arc so grounded in the turmoil of thereal world. the. arc unable to transcend it to that higher, timeless reality~\'hcrc human love i purified and made spiritual, and hum an lovers enjoythe assurance, the peace, and even the immortality, which nrc the normaleservc of Christians and other religious believers" (p. 23). Briefly outlinesthe history and development of Donne criticism and explains the selectionsincluded in the casebook. Part J , "Early Comments" (pp. 33-46),reproduces two extracts from Donne and selected critical commentary fromCarew, Dryden, an ano nyrnou reviewer in the Guardian (17 13). LewisTheobald, Richard Hurd, Joseph Warton, an anonymous contributor tothe Monthly Review, and Dr. Johnson. Part 2 , "Selection of ineteenth­Century and Early Twentieth-Cen tury Criticism" (pp. 47-109), includesextracts from Coleridge, Hazlitt, an anonymous contributor to the RetrospectiveReview (1823), George Saintsbury, a 1900 review possibly by J. A.Symonds, ir Herbert Grierson. W 13. Ycat , Rupert Brooke, and T S.Eliot. Part 3, "Recent Studies" (pp. J J 1- 248), reprints C. S. Lewis, "Donneand Love Poetry in the Seventeenth Cen tury," and Joan Bennett, "T heLove Poetry of John Donne- A Reply to Mr. C. S. Lewis," both of whichfirst appeared in Seventeenth Century Studies Presented to Sir HerbertGrierson (1 93 ); a section on "The good-morrow" from Arnold Stein, JohnDonne's Lyrics: The Eloquence of Action (1962); a selection from LouisMartz, The Wil of Love (1969), entitled "John Donne: Love's Philosophy":an original ssay by A. E. Dyson and Julian Lovelock entitled "Con ­tracted Thu s: 'T he urine Rising,' '' reprinted in A. E. Dyson and JulianLovelock, Masterful Images (entry 8 J7);a selection from J. 13. Leishman,1Ire .Jonarch of Wit (19 51); Michael F. Moloney, "Donne" Metricalr;I tice" from PMLA 65 (19 50); and Helen Gardner, "T he Argumen tAbout 'The Ecstasy'" from Elizabethan and Jacobean Studies (1959). Sclectcdbibliography (pp. 249 - 50): Ii t of contributors to Part 3 (pp. 2-I­): and index (pp. 253- 56).• 5. McCAi'i . GARTH . "D ryden and Poetic Con tinuit ': A ComparativeStudy." SAQ 72: 311- 2 I .Argues thai Dryden "is a poet not only of the Restoration but also of thenai ance' and "belonged not only to the last half but also the first halfIi century" (p. 3I I). Compares and contrasts his poetry with the theoofSidney and the poetry of Spenser, Jonson, Donne, and Herbert to\ a continuity between Dryden and his prcdeces ors and to demon-It: that "he differs . .. more in degree than in kind" (p. 321). Suggestsn ,differences between Dryden and Donn e but sees Donne's and Dry-I didactici rn, their combining the general with the concrete, andusing poetryas a vehicle to teach and to delight as linking them hathRenaissance poetic theory and practice. Comm ents on the element

John Donneof didacticism in Donn e's poetry, hi. uses of particularized images, andhi dramatic uses of argument. Briefly compares Donne and Herbert.~0 576. MANLEY, F RANK. "Formal Wit in the Songs and Sonnets," inThat Subtile Wreath: Lectures Presented at the Quatercentenar)'Celebra tion or the Birth or John Donne, edited by Margaret \\~ Pepperdene,PI'. ,-27. Atlanta: gnes cot! College.Discusse how Donne oftcn "took certain traditional lyric genres definednot by metrical form hut by content, and by a sudden flash of witturned them upside-down so that while rem. ining recognizably themselves.they became vehicles for an entirely new and original experience"(p. 8). Suggests that modern readers frequently miss the audacity and brillianceof Donne's formal wit (that is, a wit that is located within the fonnof the poem itself) because they fail to recognize the lyric type . Brieflydiscusses Donne's uses of the carpe diem theme in "111e Relique" and ofthe pastoral invitation in "The Baite" as well a' mentions his u cs of thereverie or song of awakening of spring in "Twicknam garden," the classicaldirae in "The Curse," the adunaia or catalog of impossibilities in "Song:Coe, and catche a falling starrc,' the renso or dcbat c1'a11l0IlT in "TheCanonization," and the valediction in a number of poems. Explicates "TIleSunne Rising" and "The Anniversaric" to show how by using two traditionalforms, the alba and the epitablrium annivetsatiutn, Donne "revivifiesthem, or at least the essential impulse that gave rise to them in thefirst place" and "makes them over into .omcthing uniquely hIS own"(p. 8).~~ ; 77. MARTZ, LOU IS L. "Donne's AnlJiversaries Revisited," in ThaiSubtile 'Wreath: Lectures Presented at the QllatercentenaryCelebrationof the Birth orJohn Donne, edited by Margaret W Pepperdcne,pp. 29- 50. Atlanta: Agnes Scott College.Briefly reviews recent critical commentary on the Annil'er,aries and reviseshis earlier position (first stated in "John Donne in Meditation: Th£'Anniversaries," EU l 14 [1947]: 247-73, and repeated in The Poetry 01Meditation [H); 4]) that The first Anniversary fails as a formal religi HI'>meditation. Suggest that the coalescence of the satiric, religious. anddidactic in the poem has a pccial appeal to modern literary scholars billargues that the basic cause for modern interest is that "I onne now eelto speak directly to us, explaining what it is to live in a world that 'C mto be dying in th e throes of some mysterious renewal" (p. 31). ices 11poem as standing "at the watershed between ancient and modem," a prnouncing "a valediction or elegy upon the Renaissance 'lues! for an icl Iharmony of body and spirit," and as holding "the past in memory II 1the speaker' understanding and will move toward thc future" (I'. , ).cusses the structure and imagery of The first Ann iversary and sees tpoem as a "powerfully successful satire" that consciously "enacts a fadin the meditative process" and uses the forms of meditation "for .lenn

t\ Bibliography of Criticism [197 31 • 21ation, not devotion" (p, 3 ). Views the "Shce" of the poem not as simplya dead girl but as "the image of ancient virtue struggling vainly for life ina twilight world of decay" (p. 40). Discusses al 0 the structure and themeof The second Anniversarie and argues that it. unlike the first, enacts "theprogress of the restoration of the three-fold Image of Cod within man, inaccordance with the theology ct forth by SI. Augustine in his great treatiseon the Trinity and after him by t. Bernard" while the image of theidealized girl become "a symbol of that interior Image" (p. 46), ees thtwo poems as companion pieces "in which lhc sadness of untimely deathis converted to the consolation of a religious death. while th speakerhim elf is tran formed from the bitter, angry voice of the public. atiristinto a gentler, inward voice of one who has learned how to ee. and judge.and follow worthine s' p. 4 ).'~ 57 . . "A elected Bibliography of \ ritings on Donne's Anniversaries,194 2-1 972," in That Subtile Wreath: Lectures Presentedat the QuatercentellOT)' elebration o{the Birth of John Donne. editedby Margaret \\, Pcpperdcne, pp. 51--5. Atlanta: gne coltCollege.Li twent '-.even critical works on the Anniversaries, written betweenIQ42 and 1972. Partially annotated.~0 ;79· N IOIUUS, H ARRY. "John Donne's 'Icrrlfy ing Pun ." PLL 9: 128­37·uggc. that in a numb r of his poem onne employs paranomai iapunning on names) and specifically comments on Donne's punning onill wife' name, Ann More. uggest · the po.sibility of a pun on ither hisnther-in-laws name or perhaps his wife's name in "T he Canonization"line I ,) and argues that there is definitely a pun on his wife's name in ""lediction: of weeping" (line 7). otcs that in the secular poems the punsnJ to be "frivolous, wilt " or mirth-provoking" but that in the divine111 the}'b come increa ingly " ober, profound, and ultimate] ' terrifyng"P 132) uggest that I anne, following t. Augustine's notion thatIIi ' a conversio ad cteaiuram, came to regard his love for his wife as •nil of idolatry disallowed by a jealous ad and that in certain of hisrc I poems he explores this con fl ict: Lines 9 - 10 of "Since she whom I• :. lilies : 1-22 of " Hymne to Christ, at the Author last going intmny," and especially throughout "A Hyrnnc to Cod the Father," permnelaot poem, which pivotson "the polarity in which the namenne and More eem at oppo itc ends of a teeter-totter" (p. 136).if the reading of the 16" edition of the last line is maintainedr . no more"), then Donne is saying that "hisonly hope for alvatiou'Inist's redemptive act, which atone for the in even when theI p ars before him in judgment with love for Anne deep in his soul"

John Donne~ :; 0. NAKAMURA, TORU. "Donne to Eikoku Kokkyokai [Donne andthe Chur lt of England]. l ~ igo /0 Eibei Bungaku (Yamaguchi Daigaku),no. 8 (December): 17-32.Out lines and di eu c the spiritual truggle that Donne experienced inrenoun cing Roman Cath olicism and embracing the Church of ~ng la n d.Examines, in particular, the state of Donne's religious spirit and conciencea reflected in thc nniversaties.~ 581. NISIIlYAM/\, YOSHIO. "John Donne no 'Icishin-kan no (chimcn-s-Tcishinno Bitoku to hitc no Kichi no Cainen" [One Aspectof John I onncs View of the Cou rtier-s-The Id a of \ it a a Virtueof the ourtier], Ki)'o ( •igo Eibungaku Kenkyu]o, Toh okugakuinDaigaku), nos. 3-4 (in one volume) (February): 13- 46 .Can ider onnes gen eral view of courtiers, with special reference tothe relationship of his The Courtier's Library and Ca tiglione s 11 libra delCortegiano. Noles that Donne was fond of parodying the notion.of rindifferentjudgment," one of the standards presented by astiglionc for thecourtier of Urbino.~ ; 2. . "Nicholas Breton to John Donne" [Nicholas Bretonand John Donne]. Ronshu (Tohokugakuin Daigaku), no. 60 (. p­tcmber): 67- 1 .Discusses similarities between those poems of Donnc and of NicholasBreton that were apparently inspired by Castiglione' IIlibro del Cortesianoand notes that Donn e oftcn parodies the Italian work.~ 5 . OKADA, HIROKO. "John Donne no Fukkat u-s-Devotions lJChll hin ni" [john Donne' Resurrection: \\ ith Reference I IIIDevotions]. SELit 50, no. 1: 1--28.Traces Don ne's piritual growth from a deep sense of sin and damnationbordering on despair to hi later religious maturity and sees this transitiontaking place in the Devotions upon . metgenl Occasions. in which Donncomes to view the cure of his illness as a sign of Cod 's forgivenessand alas a prorni c of final resurrection. uggests that from 16z3 on Donne'be t ermon re ult, in part. from thi. rea uring experience and poinout that in his last sermon, Deaths Duell, Donne eloquently tates IIfirm belief in eternal life as promised by Chr ist's death .~ - 4 . PEI'PI-;({DEJ E, MARGAIU·.:T W , ed. That Subtile Wreath: LcctuPresented at the Quaterccntelwry Celebration of the Birth of folr"Donne. Atlanta: Ague coil allege. v, op.Contain a foreword pp. i-iii) by Pepperdenc, introducing a symsiurn held al Agnes Scott College on 24-25 February ' 972, in honorthe quaterccnleuary celebration of I onnc s birth: a welcoming addrc\ allace ~\'1. Alston. president of Agnes coil College: three lcctuDonn e (each of which has becn separately entered in the bibli grap

A Bibliooraphr of Critici TTl 219(1) Frank lanley. "Formal Wit in the ong, and onnets (PI'. --27). 2)LOlli L. Martz, "Donne ' t\nnil'ersarie Rcvi ired" (PI'. 29- -0), followedby a" elected Bibliography of Writings on Donn e's Ann iversaries, 1942 ­1972" (PI'. 51-55). and (3) Patricia C . Pinka, "The Autobiogruphi al larraterin the on and onnets" (PI'. -7-76): a program of .cvcnteenthcentumu ic for lute and voice (including ev ral ongs by Donne givenat Ague colt College on 2- February 1972 (PI'. 77- 9): and a list oflecturer (I'. 0),U!'! 5 5. PHILLII . JOH. , "Transition." in The Heforl1lation o{l mages: Destructionof Art in England. J - 35-dj6o. PI'. 140-56. B rkelcy, LoAngeles, London: niversity of California Press.I i usses the prevailing views of Jacobean Anglicans and Puritan onreligiou images and ceremon ies and comment briefly 011 I onne' conciliatorypo ilion on uch matters (PI'. 149-;I). uggests that, like LancelolAndrcwes, Donne "believed thai ceremonies in themselves are 'indifferent:but where there is no obedience nor ritual, religion necessarilywill -anish' (I'. 149) and notes that, "though Donne felt that xistingdi agreemen ts with the Engli h Church hould be settled by lawful authority, he wa: quite put off by the Puritan ' rcfu:al to accept images" (I'.\-0 . Totes that Donn e, like 'Ihorna More, rejected the notion that ceremoniesand images hould be abandoned imply becau c th y had beenabused in the past.~ :; 6. PINKA, PATRICIA . "The Alit biographical arrator in the Songand Sonnet :. in That Subt ile Wreath: Lectur Pr nt d at theQuatercentenar)' Celebration of the Birth of John Donne, dited byMargaret W Pepperd nc, PI'. 57- 76. Atlanta: Agne cott College.Discu ses Donne' killful manipul ation of the autobiograph ical narra­, in • small group of his love poems in which he "se th reporter', r Ion of him elf in colli.ion with the di crepancies and ironic whichn e from the reporter's performance as a narrator" (I'. 59). haws hovpoint of view of the narrator, hi often authoritarian relation hip withII t ncr , and hi rnovcrn nt away from the pre cnt " ubtly interweave010 Ii~ ' the meaning of the autobiographical narrative in the onglid onnets" (I'. 63). Pre .cnts a detailed analysis of the interaction ofhcse clements ill "FarowelI to love" and "The Relique" to demonstratenne' art in handling the narrative mode.-;, POLLARD, t\RTH UI~ . "John Donne: 'Show me deare hrist, thypou c. a bright and clcare.' " CritS 6: 16-20.i a clo: reading of Donne's " how me deare Chr ist" and regardI oth "a mark of his literary power and a mea ure of hi rcligiournitment" p. 20). Su 'gcsts that the sonnet presents Donne', view ofhutch "not as an earthly and visible in titution, not even perhaps aII orical ci , but as a piritual m. tcry exprc cd through the most

220 • [19731 John Donne?tender and al a ineluctable of human relation hip. a mystery who egreatness is mphasizcd in that, for Donne, it can only be adequatelyexpressed by inverting the normal order of that relationship, by substitutingfor a jealously protected exclusiveness a comprehensive inclusiveness"(p. 19). Can ludes that pcrhap the .011net wa not publi hcd in Donne'lifetime nor in the early edition be ause "Donne the churchman \\himself outraged by thi. more daring exploit of I an ile the poet anJ flit itbest that, though most appropriate and most telling in its truth, this sonnet,for it expres ion, was best confined to a small audience with strongliterary stomachs" (p. 19)... -88. P I.LOCK. j OH ' }. "Reply to ~ Iisabeth chneidcrs 'PrufrockandAfter: lie Theme of Change' in PMLA., (19 2). 11 0"-18. ~ PMl.J\88: 524-Disagrees wi th Schneider's mention of Donne's "Batter my heart" in heressay on Eliot's religious conversion and his preoccupation with change,in which she suggests that in Donne, Cod "seizes possession of man', selfand will," whereas in Eliot "the coming of Cod i willed within the humanself" (Schneider. p, I 103)' Argues that the images in Donne'ssonnclarc more violent than those in Eliot's poetry and that the pc ana wills tobe eized hy Cod but has not been rcizcd. r.. Iaintain that the main differencebetween Eliot ami Donne "is not that Eliot is active where Donne I,passive, but that Eliot wills to believe in Cod where Donne wills to serveHim" or, "in other words, Eliot, unable to presuppose a basic belief illad either for himself or for hi twentieth-century reader. I1lU t begin atan earlier tagc in the convcr ion pr c that IS, at the initial tag ofwi lling to believe." Points out imilarities between Donne and Eliot IIItheir rendering of Christian experience. especially their acute self-conscion:nessand fear that their public avowal of faith is perhaps not match ~Iby their private beliefs. For a reply by ichneidcr, ee PMLA (19731525- 26, in which she agrees in part with Pollock's point. but insist. th,11the contrast she intended between I anne and Eliut was that Donne "eitherhad or longed to have and asked for an intense and intimate person,Jrelation hip with Cod or Christ, whcrea Eliot or at any rate the Ell Ithe poem. , docs not appear to think or feel in these terms" (p. 525).~.. 5 9. PRIT liARD, Au.s». "l mille' lr. Tilman." RE 11.. 24:.p .Comments on live letters in the 0 " wes papers among the Harleirl\I S. in the British Library that provide additional information 011 Iward Tilman, to whom Donne addre sed his poem "10 Mr Tilmanhe had taken orders." One letter i. addressed b Simond D'f wes tfather, Paul D'Ewcs, recommending Tilman fo'r a position as advowof towlangloft in Suffolk, and four letters arc by Tilman 10 his patroPaul D'Ewcs, I otcs that, although the letter do not prove that

J ti man personally, they do suggest that Tilman had achieved somennucnce ill Cambridge in 161 8 and, thus, increase the likelihood thatI ' lwei some knowledge of his character. Also notes that Tilman'sRrc excessively flattering and indicate his worldly ambitions and thatn '. poem, as Helen Gardner points alit, addresses the problem of thet cnvcnes of the life of a cleric from a worldl point of viewo, Q UENNELL, P ET I!:R, AND H Al\HSH JOlINSON. "T he Seventeenthcnlury;' in A History of English Litera ture, pp. 93-20 1. London:Wcidcnfcld and licolso n: Springfield, Muss.: C. C. Merriman Co.r II ish John on does not appear OIl the title page of the rncrican11cn ls a brief biographical sketch of Donne's life and works (pp. I I ­utlin s major characteristics of his poetry and prose and stres cs them.dilyand complexity of his thought and expression: he "adapted andcd the kind of elaborate conceits that sixteenth-century poets fared,giving them an entirely new and often striking individual twist"\ :20). otes that Donne's prose style "is no less complex and energetictil usc he made of ver en (p. 121).1 RA " AM N, JOHN . "English Metrical Psalms, Donne's HoI)'omlcls and Tulasl Dasas Vinaya Patrika," in English and HindiHeligious Poetry: A/1 AlJ(llogical Stud)', pp. 141-63. (Studies in theIIi tory of ReIigions, 23 ' ) Leiden: E. J. Brill .I n" comments on Donne's poem on the translations of the Psalmsnlnc) and the Countess of Pembroke and uggests that the colloquial. of yatts metrical versions of the Psalms reminds one of Donne.that. although Donne rendered The Lamentations of Jeremy intoIi h. his poetic temperament, "which inclined towards a conccntraoargu mentative thought and passion, could not find ample scope inII etc versification of biblical laments" (p, 159). Points out, however,ierc , re numerous echoes from the Psalms in Donne's religious poems,in "A Hyrnne to Cod the Father" (which ha its starting point in1m I 3-5) and in the HoI)'Sonnets. C om pares and contrasts the HoiMI:; with the padas ofTulasi Da sa in the Vilw)'a Patrika and suggests"~ IC feelings, emotions and divine aspirations expressed in these works, I on ' and the same time, the means and the end of a religious poetryIIcd by the true spirit ofbhakti" (p. 163).' . R EI~V ES , CAROLY II. "Donne's T he Calme,' 3- 4." Expl 32:Item 3.i Is out that Donne was familiar with the descriptive tradition in) II the calm and the storm represent respectively the good and evil\ tif Fortune. Suggests that in lines 3- 4 of" T be GaIme" Donne notr fer to Aesop's fable but also calls attention to his "juxtaposition ofent. of the tarm and calm, in his paired poems the calm following

222 • [197 3] John Donneinstead of preceding the storm ." Suggests that Donne "was aware that hewas 'inverting' tradition by making the calm just as destructive as the storm .thereby presenting Fortune as completely malevolent." Notes further thatin the two poems Fortune is presented as capricious, just as Zeus is presentedas capricious in Aesop's fable. Suggests, therefore, that when thesailors in Donne's poem, confronted by a malevolent, mocking, and annihilatingFortune, are said to "forget to pray" (line 48), they ma y berecalling the fate of the frogs that petitioned Zeus and, "having just passedthrough the horrors of the storm, may find it wiser not to play the part ofsuppliant."~ 593. REYNOLDS , E . E. "A Note on John Donne." Moreana 37= 41­43·Discusses Donne's relationship to the famil y of Thomas More. Notesthat John Donne, Jr., in his will of 1661 bequeathed a portrait of More tohis friend Sir Christopher Guise, who, in turn, bequeathed it to ChristChurch, Oxford . Suggests that the portrait (now lost) came to John Donne.Jr., from his father, who probably inherited it from his mother, ElizabethHe ywood, daughter of Joan Rastell, More's niece. Discusses ElizabethHe ywood 's recusancy and marriages. Notes that she arranged for Fr. WilliamWeston, S.J ., to visit her brother, Jasper Heywood, S.J., in the Towerand suggests that Donne probably met his uncle and also Robert Southwell, S.J.~ 594. RICHMOND, H . M . "Donne's Master: The Young Shakespeare."Criticism 15: 126-44·Argues that many of Donne's lyrics contain precedents, echoes, andanalogues derived from Shakespeare, especially from the early comedies.and that "it is scarcely an exaggeration to say that as distinctive a personalityas Donne appears to have been psychologically conditioned by hima ster, and that he is less capable of grasping and extending the sweep 0 ­the dramatist's genius, than of excerpting, elaborating, and delicately perfectinga few flashes of character from among the many sparkling showerof personae thrown off by Shakespeare's virtuosity" (pp. 143-44). Mai n­tains, therefore, that, rather than being uniquely inventive, as has oftenbeen held, "Donne and his supposed 'followers' look increasingly like acharming but derivative appendix to the Elizabethan drama" (p. 144 .Suggests , for example, that such early plays as Love's Labour Lost, ThTwo Gentlemen of Verona , The Corned)' of Errors, and The Taming of theShrew provided Donne with models for his "livel y and sardonic yet pa ­sion ate personae" (p. 130) as well as precedents for his images and conceits.Notes also that Shakespeare's "parody of affectations provides thespecific models for many of the hyperbolic conceits of Donne" (p. 131 .who often plays straight the sentiments or roles that Shakespeare ridiculedor censured in his plays. Finds specific Shakespearean precedents, echoe .and analogues in "A Valediction: of weeping," 'The good-morrow," "T h

A Bibliography of Criticismunne Rising:' the two poem entitled "The Drcarne," "A nocturnall upon. Lucies day," "T he Exta ic," "Womans can tancy," and "The anonizalion.''4~ 595. ROB: RTS, lou R. John 0 0 11 11 : An Annotated Biblio 'mph )' ofModem Critici m, 1912-1 967. (Univcr ity of Missouri tudics, 60.)olurnbia: niver it ' of Missouri Pre . 3231'.Lists alphabetically by year and fully annotate. I , 280 books, essays,monographs, and note written on Donne from 1912 through 1967. Inelude:extended discu sions of Donne thai appear in books nol centrallyconcerned with him, editions that contain significant critical discussion,and many item in languages other than English. I ~xcl ud e , mentions ofDonne in books and articles, referen ces in encyclopedias and literary hi ­tori 'S, book reviews, and do toral di crtat ions. Contains th ree indexc ­author, .ubject, and Donne's works mentioned in the annotations.~~ 596. ROSENT HAL, LVI. L., AND A. J. 'I. S 11TH . "Metaphysical Poetry,"in Exploring Poetry, pp. 2 0- 0 4 . zd ed. I l e w York: The MacmillanCo.ornrnents generally all the qualitie of Donne's poetry E 'Plicate "TheLInne Rising" and "Coo dfriday, 16 13. Riding \ estward" (PI" 2 0-85),pointing out that the two poc.:ms "arc indeed unlike in their literal themesand ill their feeling toward the central images of universal authority, butlhe similarity in technique should be apparent" (I'. 2.83), Stresses the changesand development of tone in the first and the movement of thought, pro­1 t d through the image, in the ccond. Comments briefly on 'T hepparition." the Hal , onnets, and "'1h Extasie," calling th . later "thelet physical poem par exctllence' (p. 288). Brief references 10 I an neti ll oughout,: 59 . SAKURAI, }-1l)ICIII Ror-Curing Like by Like- Donne to Paraciss (1), (2.)" [C uring Like by Like-Donne and Paraccl us (1),\ b )J.Jimbull (Kyoyobu Kyoto Daigaku) I na. J() (March): 4 5- 72; EibungakuHwjro Ti. K 'oto Daigaku), no. 31 December : 1-45.I ~ 1I cs the prevalence of Paracel ian medical theori in an ne'try . ud prose and suggests that these theories may be a un ifying prin­J' ill Donne's works. Applies Paracclsus's theory of using poison todicate poison 10 Donne's poetry, esp cially to the Divine Poems, inJ h he di cus es in a a means of purifying in.• . SAM Rl " R. M. "I ragedija I zona onna" [T he Tragedy of JohnDonne]. Lit 17, no. 3: 162- 90.nntcd in "This H Olle l '(ethod"; " llistor)' of Realism in Western/J' lW Litera ture (Moscow: Moscow University, 1974), pp, n 1- 44 [inan].nt a broad urvey of I onn e's life and poetry. Larnen . that a poet

John Donnewho in his earlier life and poetry celebrated the body and hum an ity afully, a poet dedicated to the Renaissance concept of freedom, individuality,rca on, and learnin g, hould have renounced all these importanthuman value and embraced both in hi. life and in hi poetry a religiouasceticism that dampened his creative genius. Sees the change in Donn efirst fully articulated in The Progresse ofthe Soule and outlines the spiritualmetamorphos is of Donne that culminated in the Hoi)' onneis, poemsthat are tilled with interior anguish and fear of death. oncludcs thatbecau c of hi. piritual agony and hi. inability to transcend hi. inner con­Aict. Donne, un like hake p arc and Cervantes, failed to realize the po ­sibilitie of his creative gcniu .•~ ; 99. SCHLU,. : R. K URT. "Di Lyrik del" cnglischen Rcnai ance," inEnglische Dicliiung des 16. lind 17. lahrhunderts. by Horst Oppeland Kurt Schluter, pp. ~4-94. (Alhenaion I' a)'s, 3). ( tudienau s­gaben ZU Ill «Neucn Handbuch de l" Litteraturwissenschaft» , editedby Klaus von Scc.) Frankfu rt am Main: Akadcmischc Verlagsgescllchaft.Outlines major characteristic. of Donn e's love poetry and sacred poetryand links them by their u c of wit and the j eoplatonic Pctrarchun tradition.I otes that Donne's attitude toward love varic greatly in the Songand onets: Love can be "unnaturalichc und erniedrigend Vcr iklavungdes lannes," as seen in "'111e urse," '111e Indifferent: ' and "Loves Us ury,"in which woman, too, is "vall dem Po tament hcrabgeholt, auf das diecchtcn [Iinger Pctrarcas sic gestellt hatton" (p, 77). lotcs, however, thatlove may also be described us pure and the highest good, as in "The Extasic,"in which piritual union, a ' experienced by thc lover 0, compensatesfor the imperfections of the individual souls and includes the need forphysical union between lovers as the oul's medium for communication.ugge °1 that Donn e fa 110 \\ the Aristoteliani .m of Padua. not the Florentinc I eoplatonic tradition. I olcs certain tyli tic fcatur of Donne'love poctry-s-dialectic development of thought; u es of dramatic devices;convcr ational tone; the use 0 conceit, wit, and paradox-all of whichnrc found also in his religious poems, especially the Hol)' olHwls. Comment.on Don ne's usc of Pctrarchan motifs in his religious poetry andrelates him to Jonson and especially to George Herbert. who "scheint d Iwichtigste verrnittlcr zwischen I anne und den spiitercn «rnetaphysicalseween zu scin" (p. 84).~ ~ 600. SHERWOOD, TEHHY J . "Reason. Faith, and Just AugustiniaLamentation in Donne's Elegy on Prince Henry,' • EL 13: ::;,-6-Maintain that an under landing of"Elegie upon the untimelv deaththe incomparable Prin Henr ," increases one's under. tanding a thelerie clement in anne's poetry and pro e and hows further his profoudebt to t. Augu. tinc. Argue hat Donn e's elegy. though a public poe

A Bibliograph)'of Criticismi also specifically addressed to his two friends, Edward Herbert and HenryCoodyere, both of whom had written elegies on the occasion of the deathof the prince . Points out, through a detailed cornpari on between I onncspoem and those of hi. friends, that Donn e adapted Edward Herbert's epistemologicalapproach and ironic mode but amplified and complicated hisPlatonic: philosophica l formu lation. bye. amini ng mortality in a muchbroader theological context and that, similarly, he extended C oodyere'Augustinian discussion of uffering, grief, and lament in order to showthe profound theological implications of their mut ual grief. ales thatDonne's elegy, written just after his exprc sian of great intellectual doub t111 the AlllJiversaries, "flatly refutes ultimate rational skepticism and hencemarks an important point in Donne's intellectual hi tory" (p. 53). Showthat one of his principal assertions is "that the problem of skepticism isinseparable from other problems of mortality, such a grief. love, and 0 ­rial ties," problems dealt with together in The Cit),orGod, and thus he"adapts the Augustinian discussion to an ironic mode, which i a basicmean. of treating epistemological issues raised by Henry's death" (p. 54),Argues that Donn e's central Augustinian assertion "is that the rationalmind can begin to reconstruct value, which is threatened by mortal catastrophe,through reasoning itself" and that "affi rming its own existence,reason leads outward for confirmation from other rational being , endingfinally in love and faith" (I'. 53). Concludes, therefore, that the fact thatanne "chose a major occa ion to affirm the importance of reason. for aled corterie a well a a wider public audience, and that he worked outlili affirmation using an Augustinian vocabulary make the elegy ncce ­rily a ignificant Donne work" (p. 67).=601. SHURBANOV, A LEXANDER. "Donne's 'Dramatic' Imagery." 11­nuaite de l'Universite de Sofia. Faculte des Lettres. 67, ii: 20\-20.A continuation of "A tudy of John Donne's Reform of ElizabethanImagery" (entry 263). Analyzes the dramatic elements of the Songs andnnels, c pecially the dynamic and dramatic function of Donne's image,seen in such poems as "The Flea,"" he Drearne." "/\ Valediction: ofweeping," "A Valediction: forbidding mourning.""Rvicknarngarden," "T heIndifferent," "Loves Deitie," "The Prohibition: ' "Lovers infinitenessc,''omans constancy,' "111e Canonization," "111C good-morrow" and " 'I1l(~ic" Concludes that "the dramatic character of some of Donne' poems,rr , d in an action capable of changing the initial situation as well as\ piychological state of the participants, make many of the images flex­) and dynamic" and that "poems in which there is no explicit action,I the attitude and mood of the speaker changes from stanza to stanza orn line to line also tend to produce developing images," although somethe poems have "disjointed heaps of figures with nothin g to keep themtl er apart from the pcr onality of the emot ionally disturbed speaker"l(}). ole also that there is a "search-for-a-fitter-image" pattern in

lohn Donnethe ongs and Sonets, which is oftcn "responsible for the general impressionDonne' poems make of improvised monologues" (p. 2 19 ). Summaryin Russian (p. 220 ).~ 6c>2. S 11TH, Do,' OEL. "T he Artistry of John Don ne's Devotion s."UDR 10, i: 3-12 .Comments on the critical history and reputation of the Devotions uponEmergent Occasions, surveys modern criticism on the work. and ana lyzesit a a work of art, "as an intensely realized dialectic of the soul. embodiedin a finely controlled dramatic action" (p, 1 1). Suggests that the unity andcoherence of the parts and of the whole, the careful structure. the controlledlimitations imposed to guaran tee relevancy and effectivencs , theconcern for rhetoric and the unifying progression of the action, and thehigh level of intens ity and suspen: e maintained throughout the developmentof the action-all indicate that Donn e gave careful attention to theartistry of the work.~ 603. S 11TH. M , VA] ' W VK. "John Donne's Metempsychosis." RESn.s. 24: 17-25, 141- 52.Argues that an examination of Donn e's sources in lvletempsychosis supportsHelen Gardner's notion (entry 427) that the poem i complete initself and is a satirical mock allegory that "presents a perfect inversion ofthe moral progress traditionally associated with the soul's upward movement from plant through beast to man" (p. 17), a scheme that gave Donnean ideal pattern in which to develop the corrupt attribute. of the personhe wished to satirize-Robert Cecil. Suggests that Donne's rno t l:ikclysource are Tertullian' De nima, which not only discusses transmigrationand moral degeneracy but also links these notions with the here icsof Simon Magus and Carpocrates; the writings of the nco-Pythagorean ,from Pico della Mirandola to Archangelus Burgonovo: and Hermetic andCabalistic writings. lentions. in particular. the works of Franc' euCeorgius, Fridericus Balduinius, Johannes Reuchlin, Juan Vives, and Pierrede la Primauda yc, uggcsts that, in addition to classical and Renaissancetheories on transmigration and moral order, Donn e "added the narriltiveand metaphoric substance of the traditional beast allegory so that the PJ 'mfinally i sue. as a series of brief beast satires with the continuum of dC3cnoerative metempsychosis" (p, 141). Finds that both Spenser's rVlother l1!ubherd's Tale and Richard Niccols The Beggar's Ape (? 1607) provide uto Donne's intent, since both were political satires directed again IICecil family and both used bea. t .atire to camouflage their criticism.lines the historical con text to show that bv 1601 Donne, like Ralegh ndmany others, had reason to resent the immense power and influcn •Cecil. Points out, for instance, that the death of the whale episodbe Don ne's accou nt of 'ssex's fall. uggests, then, that in 'Ietemp )'ch"the narrative moves on two levels at once: while the work as proje e

1\ Biblioorapll ' of Criticism ....­- - Ipurport to be a history of the growth of havoc from Cenesi to I onne'own time, with the adversary as the epitome of all evils the 'great oulc'would acquire in the course of its long history. the poem as we hnve itactually consists of a series of brief beast satir '5, some referring directl ' toCecil. others only glancing at him, and some, indeed, being no morethan witty inventions in the narrative continuum of a progre S ill dccadeuce"(p. 148). Suggest, that Donne mil)' have later regretted his supportof Ralcgh and possibly resolved to suppre s the poem.~~ 604. 'YDER. S . \ N. "Donne and Du Bartas: The Progresse of theoule as Parody." P 0: 392-407.urvcys critical opinion on The Progte e of the Soule from the time ofJonson to the pre:cnt and points out that modem critics di agree aboutthe subject matter of the poem and about the kind of poem it is. Arguethat Donne was consciously parodying I II Bartas's divine epic, the epmaines,which was first published in 1578 and 1584, was widely knownand greatly admired among English Prete tants, and was translated in partbySidney, James I, and others. and fi nally in its entirety by Joshua ylvcster.Maintain that. if regarded as a mocking parod of Seotnaines. Donne'poem "acquires a sharper focus and its pcculiaritie begin to form a patern"and that "a cornpari on with the Bnrta inn model also rnak sen cof U 1(~ po m: puzzling incompleteness" (p. 39 ). Compares the two poemto show that I onne not only ridiculed and parodied certain literary devicesemployed in Du Bartus's poem but also attacked Du Bartus's wholepoint of view Notes that, although Du Bartns's poem has certain , urfacc.irni laritics to the metaphysical mode of wit, a comparison with Donne'spoem only "accentuate the difference between Du Bartas' hea

228 • [19731 John Donneit explores the medieval universe" (p, 90 ). Suggests that Donne 's greatness"lies in his capacity to integrate what we, in the normal course of things,too readily accept as disparate" (p, 86) and that it is "in terms of its attemptsto create a hu man world, that one ultimately distinguishes the poetry ofDonne from what we usually think of as Elizabethan" (p. .7). Concludesthat the tightly integrated and closed medieval world that Donne' poetryreflects, a world in which "man's relationship. to mankind and his relationshipsto nature arc essential aspects of man himself" and in which "hestands ill relation to the world about him not as an object amongst objects,but as an inlrin ic part of one great whole, of which he is the consciousnessand centre" (p. 94). was ultimately destroyed by the rise of capitalisticsociety, "in which men came to be seen as freely competing individuals:and the new individualism produced its own image of the world, in whichnatural objects appear as things-in-themselves acted upon by powerful externalforces- just such ,1 vision as Hobbes has of the social life of man"(P· 9 5).~ 606. . "Love Poetry in the Sixteenth Century,' in Literatureand the Rise ofCapitalisIII: Critical Essa)'s mainly on the Sixteenthand Seventeenth Centuries. pp. 21- 85. London: Lawrence andWishart.Examines the imagery and sentiment of sixteenth-century love poetryfrom a broadly Marxist perspective to show that the rise of capitalism illEngland profoundly changed society and hu man relationships and thaithat change was reflected in the love poetry of the period. Argues thatseem ingl- far-fetched conceits of love poets "are thc natural exp res'ions ofminds so pcrfectl r attuned to their social surrounding that their eroticenthrallment is most aptly defined by the convergence of the accountbook and the billet-deu x" (p. ( 0 ), Briefly comments on Donne's lise ofeconomic and commercial terms to express personal affection and pointsout that in "Lovers infinitcncsse" love "is realized in the market-place: thelover is a would-be purcha:cr whose lack of thrift prevents him from pa .ing the agreed price for the lady," and that "in the remainder of the poemthe conceit develop into a legal quibble concerning the pre-emptiverighlof a land purchaser to the futu re products of his purchase" (pp. 51--:!),I otes that even the Elizabethan view of heaven and the blessed is presentedin terms of conspicuous wealth and treasure and suggests that 0 01111 '.like Sidney. penscr, and others, equates wealth with virtue and honer'~ 607 . SI'AlmOw. lmlt"l. "John parrows 'Manuscript Correction of'1\\Issues of Donne's Biathanatos...· BC 22: 235-36.In part ,1 reply to Cha rles Morgenstern (entry 471), Presents additionnlinformation on uncorrected and corrected copies of the undated anrl th1648 issues of Biatlianaios. Emends and amplifies his earlier common(entry 510) on several corrections.

PRJ. ' FJELD. A :\ LEA . "[ohn Donne' The ec ta y': A f-ormalnnl ysis." Facul! ' Journal (Tcnne ce State niversity, a hville)1973-1 974): 20 - 26.phra c the argument of "T he Exta:ie" and comments on its orgatruclurc. u e of paradox, and key words (love. soul. lallguagc).Ihat it i a "unitary poem in that it may be partly realized throughumcnt, inec it organizing structure supports this form of discour .c"_ - _6), that "the total poem may be partly understood a paradox,I -ern to pring from the key word. as they exp and in meaning tod their opposites," that "the argument and the paradox entail a twonOli.1 ,'. and that when they are cornbin d with the paraphra e theyur hoth the ' .tcn ible' as well a the 'lat nt' meani ng of th p em"I)0 , .'(' Pl.-ET ( N. LAURENCE . "John I onn e: T he Moment of thc Scr­1I10n," ill The Elected Circle: Studies ill the Art of Prose, pp, 17- 44­I rinccton: Princeton University Press.\\ Ihal Donne regarded the sermon as an active literary form andIn c of art that exalt art" (p. 19). Discus how thc crrnon bothted and, 0 a I er extent. restricted the full play of Donne'. imuginmments on hi command of langua and his crupulou rcrpr cision and accuracy of \ ord ·hoicc: hi. careful and artisticf logic and rhetoric for specific purpo ' and effects; and his awarefthe subtle t elements of style. uggcsls that rhyth m is anne'uudarncntal resource. in his pros as in his poetry" (p. 26). Exthevitality and variety of Donn e' image and metaphor in theon and conclude that "it is the purpo e of ana logy, rather than thatrung . udden new insight into expcricnc , that Donne' metaphorrmon chiefly .erve-s-that. and the pi a urc of concretencs in. nab Ira t el i. nurse" (p. 27). Argues that, although Donne' thememe. hat preordained and con trained b. his orthodox Ch ristian the­• h often trik a note of individuality in the handling of them 't: pc ially Important to him personally, uch as the notion of callndIll , mercy and . ociablenes of od. Prcscn anal)' c of 1ll.IIlYI ldll. I p:JS'ages from the ermons and dis us .cs a a whole I onncs11 11 011 the text. "Therefore the Lord shall give you a signc: Behold aIT! shall .onccivc and bcarc a SOli . and shall call his name hu man­I' lu show thai he was aware of the advantages and disadvan tages of tJ ic11 ,IS .1 funn of literature. Maintains that. "if the errnons do noll' th ' poetry a art:' it i partly because they arc not comparable, for.lI~h only the poet could have written the. e scnnon . it wa a differ-vork, and the writer knew it 10 be"(p. 40). Contends that thend (I11 • like til e ay of Emer on and . H. Lawrence. "app .al paw­I for assent" and treat themes "thai pen .tralc the contours of cxpcri­. ·h. lever the form of the reader's belie .. (pp. 40- 41 ). in pari be-

John Donnecause they express vividly thc experience and imagination of a masterfulpreacher and artist.~~ 610. STRI GER, CARY. "Learning 'Hard and Dccpc': Biblical Allusionin Donn e's ',\ Va lediction: Of My Name, in the Window.'''SCB 33: 227- 31-Discusses Donne's usc of biblical allusions in his love poems and specificallyshows how "A Va lediction: of my name, in the window" is a "dramaticmonologue informed by an elaborate, though somewhat elusive,metaphor drawn from Holy " rit" (p. 227). Suggests that the poem is "asecular anti-type, an cctypc, of jesus' departure from Hi disciples" andthat it "identifies the lover with Christ, the mistress with il eli ciplc (or theChurch), and generally recall Christ's parting from His disciples at theAscension" (p. 228). Argues that this scheme of biblical allusion "largelydetermines the conceptual and imaginal structure of the poem" and that"this elaborate metaphor greatly increases the poem's affective power andrange" (p. 231). lotes that all four of the valediction poems contain religiouslanguage and allusions.~

• 1 • YOI\O"I''\, NAKAZO. "John Donne no Elegies ni tsuitc" [On JohnDonne" Elegies] , Ki)'o (Kyoyobu. Tohoku Daigaku) no, 18 (March):I -_p oiscusses the dramatic element in the Elegies and maintains that theter of each poem is the center of the dramatic situation and the damntnrce in that poem,1974, 6q . AHM AD, IQBAL. "Woman in Donne's Love Poetry," in Esso)'s on101", Donne: 1\ Quater Centenary Tribute, edited by Asloob Ansari,pp, 39-58, Aligarh: Department of English, Aligarh Muslim University.\rgucs that Donne in his love poetry rarely presents detailed physicalriptions of women but rather concentrates on their evocative power'er men and thus allows them to become concrete, lively participants inpoems. otes that, on the whole, Donne presents women as rationalII1g who are forthright, practical, self-respecting individuals who seeugh the pretenses of Petrarchan conventions and other exaggeratedof Jove. Suggests that Donne's females, as realists in love, insistn a male lover who is assertive and aggressive but who is also committoa relationship that is mutually self-fulfi lling, AnalyzesDonne's por­I 0 women in a num ber of the Songs and Sonets and in the Elegies,ially "Brcake of day," "Selfc-love." "Worna ns constancy." "The lndifnt,""The good-morrow," "The Sunne Rising," "T he Primrose," "Airengel. ," and "The Extasie." Discusses also Donne's general attitudeve and all Renaissance theories of Jove and notes that in his complexof Petrarchan conventions "he transformed, or extended, or evenrerted, also dramatized these myths of Jove, and thus showed them aslow or worthless, and thereby, through proxy established a healthierth, or else extracted marc meaning from them, than their stock rersccould by themselves yield" (p. 49). Points out, however, that evenugh the pre ence of women is strongly felt in most of Donne's love-m • hi. primary emphasis is on the self-exploration of the male speaker.01; , ALMASY, RUDOLPH. "John Donne's 'Air and Angels' Again ."WVUPP 2 1: 17 - 2 2 ,isagrees both with those critics who see "Aire and Angels" as "thereb for and final discovery of the true object and meaning of love" (p.nd with those who sec the poem as moving from "exaltation to insole"(p. 18). Argues that "many critics have been too eager to assign theem . definite category and, ignoring the speaker and the intricate malering of his mind, have allowed the category to precede the poem"I J, Traces the basic argument of the poem, noting first the speaker'ction of idealization, then his rejection of an overemphasis on physi-

232 • [19741 101m Donnecal experience, and finally 111 defining of love "not in the realm f rdor the realm of physical experiences but in the realm 0 human relationships"(p. 19). Maintain s that Donne's use of analog. between angels'purity and air and man'. love and woman's love, as well a the ;,l1alo . 0the intelligences and sphere, explain: the relationship. Argues that thespeaker concludes that "woman's love is inferior but as he considers thisidea and add the final lines to his monologue, ernphaslzing that thediparity 'will ever be', . . , he i not conten t with thi .ituution" (p. : I ) buaccepts it as inevitable. \ am ' that "readers need to remember to be openat all times to the unpredictable thought and feeling of Donne" pcakermost urgently when they do not fit neatly into catcgories r i the ca 0the lover in 'Air and Ang Is" (p. zz).~ ~ 616, ALTO,. R. E., :-ID P. J. norr. "John Donne." TLS, 2- CIcmher, pp. 1042- '13.Reply to Nicholas Barker (entry 620). Asserts that the copyof the ,000friday poem and several prose pieces in the Huntingdon Record 001and the Ilofrnan copy of the poem arc in the handwriting of ir NathaniRich (?I ;8;- 1630). Presents a brief biographical ket h of Rich and a ­coun ts for the paper appearing in the Mancheste r collection.• 'Oil.: thalthough the two copies of the poem are Hawed, they ar veryearly. prably b 'fore 161 . cc a] 0 It . Th om:on and David McKitteric kI nlri673 and 710), along with Michael Harmel! (entry 6;4). Theodore Hman (entry 6; 2), and J. lax Patrick (entry 6 ).~~ 61 . ANSARI, A[SLOOBj A[m.IAIl]. "Two Modes of Utterance in I 011[\Divine Poems," in Essays on 101m Donne:t\ QuaterCentenarv 'Irrlite. edited by Aslonb Ahmad Ansari. pp. 139- ;6. Aligarh: I pamerit of English, lignrh luslirn University.Pre en a general urvcy of Donne' divine poem and COIl1I11 1\the changes in hi religious thinking reflected in them. ec La 'roand "T he Litanie" as devotional poem of a communal and liturgi I IIIture that are "more ingenious than witty"(p. 140). Finds mo t of the I{Sonnets, with their cxpres ion of deeply felt emotion. dramatic intcn ,and egocentric assertiveness. reminiscent of Donne's secular poems,which one finds similar cxumples of wit. images of violence, and il "kindof picture-making" (p. 1 - 5). Pre ents a more detailed reading of "Ilittle world," "Coodfriday, ,613. Riding Westward," and "Hymne tomy Cod, in my sicknes c" and finds in them "a new kind of luunilialong with an elaboration of conceit and symbolic corre pond lie ~"a certain relaxation of ten ion and a tenaciou clinging to hop' Inmid t of utter despair" (p. I;; ). ote. that it is only in a few of Ih J(Sonnets and in the hymns "that the citadel of exclusiveness i. brokenthe persistent doubts arc resolved into resignation and hope" (p. 1'-

iticismI . • ' .-\ 'U . I\ 'L lOB Am.IAD. cd. Essays 0 11 101m Donne: A Quaterenlenarv 'Itibut e. Aligarh: Department of Engli h. Aligarli 'Ius­11m niver il). 1 ;p,rllc non of ten original essays by member ' of the Department of •nh,It Aligarli Muslim University originally read at a celebration ill honorthe quaterccntennry anniversary of Donne's birth. preceded by the cdi­, preface. Ea It of the essays has been separately entered in this bibliph. ( 11 B. K. Kalia. "John Donne in His wn Age" (pp. 1-24 ; (2)U mani, " OIllC \spects of Donne's Love Poetry: With pc ial Ref­(I fire Heliquc" (pp. 2 ;-3 ); (3) Iqbal Ahmad, "Woman in Donn eiPoetry" (pp. ,9-5 ); (4) Mnsoodul Hasan, "Donne's Verse Letters"- :;}; (;) I. K. Lodi, "Donne: Epithalam ic Verse" (pp. 6- ( 9);j ri h Raizada. " anne a a "alirist" (pp, 100-11 6); (7) [afar Z· ki,, Adaptations of Donne's Satires" (pp. 1 1 - 3 ): ( ) A[sloob] J\[hmad]n. "Ilvo Mod s of Utterance in Donne'. I ivine Poems" (pp, 139­~) Naresh lmudra, "John ))OIlIlC the Preacher" (pp. 157- 7 2); amiP I'. C hosh. "The Problem of Sin and Salvation in the Sermons of.. (pp. 1T - 5).1 . \ . 'Z 1..0 \' 1 • BR,\ NI HR. "Manneri:111 in I itcrature: Review ofearch." Y , :1.. 23: ;4- 66.Ie" research on the concept of mannerism in literature from 1920rd oles that I onne "competes with ihakcspcare a the favoritepl I ' 11 0 t·i\\;1I1neri rn. ' although his name did nol appear in thisuntil 1c) 56. when Wylie yphcr and Rudolf Stamm, indepcn ­~ of cacl: other, described him as a promin ent representative of this(p. ,H). Bricfly notes and comments 0 11 the work on Donne byIII (lC)'i ). Daniel B. Rowland ( IC)64, mold Hauser ( 1 96 ~) , Mario) . 1

er of interesting questions that are raised by the Manch ter manu crSee also lichael Horsnell (entry 654), Th eodore Hofman (entry 6R. E. Alton and P. [. Croft (entry 616), and J. Max Patrick (entry 6 ' )~ 6 21. BARRELL, )011 , AL"1D JOHN BULL, eds. "The SeventeenthturyPastoral," in The Penguin Book o{ Pastoral Verse, introd Iand edited by John Barrell and John Bull, pp. 139 -::\ 19. LondoAllen Lane.In the United States publi hed under the title A Book of English Ptotal Verse ( ew York: Oxford University Pres , 1975).In the introduction (PI'. 141- 48) survcys the development of papoetry durin g the seventeenth century. Observes that the rnetaphysipoets were rarely interested in the pastoral and that Donne's "TIICB. J"is little more than an exercise-piece, one in a long and ever more tedseries of replies to Marlowe's 'Passionate Shccphcard' " (I'. L.p ). Pointhat "in place of a vision of a simple, harmonized society, the rnetaphcals looked for a resolution of contemporary problems in term rindividual, be it in the area of the religiou or the secular" and tI ;pastoral tradition which had arisen in reaction to an awakeningindividualist philosophy in the Renaissance had little to offer a writertent on exploring the new world of scientific rationalism" (pp, I.p­Notes that "the poetry of the metaphysical period is largely thaturban culture which no longer feels suffi cient connection with a Talternative. an alternative which had anyway become ever more aqfice and a way of avoiding the contemporary and the threatening'I..,p). Reproduces 'The Baite" and a selection from "E elogue. 161cember 26" (pp, 149- 50 ). without notes or commentary.~ 6::\2 . B LACK, MICIIAEL. "Stylistics and Donne's The Sunne HiLang&L 2 , iii: 55- 58.Supports the notion of stylistics us " 3 semantic theory of perfonnapart of literary criticism: the interpretation, but not evaluation, of uttances (performance of language as opposed to abstract knowledge uguage)" (p, 55) and offers a detailed stylistic analysis of "The Sunning" to illustrate this concept. Examines the phonetic. graplphonol ogical, graphological, grammatical or syntactical, lexical , andmantic features and/or structures of the poem. Points out that the rel.'hip of all the features constitute the meaning of the poem and \that "they cannot be reduced to statements such as 'The SUIlIl!! Ri.inpoem about love in relation to time and the world'" for "such staterarc simply a part of the semantic analysis, contributing to the total IIing bu t distinct from it" (p. 6 ). Con cludes that perhaps it is finallpossible to say what the poem means because "we lack a ernantic IIthat could ensure cohesion and determin e the relevance of every 01vation" but offers the present analysis to help the reader "in his lJ\ Iderstanding of thi poem, and indeed of any other utterance" (p. 6-

2 ' BLAMIRES, H ENRY. A Short History of English Litera ture. London:Methuen & Co . 536P.iscu scs Donne's poetry (pp, 11 3- 17) and prose (pp. 138-39). Comvcrvbriefly on Donne's life and on his infl uence on T. S. Eliot.mes certain features of Donn e's poetry, such ahis uses of the draargumentand extravagant, far-fetched imagery. Maintains that hehis fi nest in his short poems" (p. 116) and suggests that his highInIIS" ,oodfriday, 161 3. Riding Westward," where the paradoxical themeing by dying is hand led with subtlety of image and intensity of perluIdevotion"(p. 117). Briefly mentio ns Donne's uses of argumen tation..klng imagery, and rhetorical strategies in his religious prose.• :4· BLt\ GH, ROBERT J. "Fear and Despair in Donne's Hoi" Sonnets:'ABR 25: 476-84.Discusses the elements of fear and despair in the 1Joly Sonnets (followricrson'ordering) and argues that Donn e's shifting devotional attiinthe Holy Sonnets and their apparent lack of strict them atic orderndof consistent patterns of imagery may be conscious attempts toI realistica lly his difficult search for God and piritual peace and tohi. willingness to draw upon any source in the search. Suggests that11 deliberately conjured lip fearful images "as chastening devices to'(: Iim to Cod just as contemplation of God's beauty soothed him intoplnccncy' (p. 484 ). Suggests, therefore, that Donn e welcomed fear as1nportant spiritual means and that the Holy Sonnets do not portray "aa tortured by fear as to be in a state of mental or emotional disinten"(p, -I- -1-).6';. BRINK. ANDREW."On the Psychological Sources of CreativeImagination." QQ 81: 1- 19.cuts a psychoanalytic interpretation of Donne's attitudes towardl 1 III the Songs and Soneis and maintains "that Donne was arnbivatcting theemotional viability of relations with hi. objects," a tratcgyannot be doubted by anyone familiar with the obsessional defence"--16). Argues, therefore. that his love poetry, "famed for its eroticng, is In nically a testing device originated by a son whose mother had~ 1 0 1 lJg i c a lly dominated his life" and that "its mode is that of avoidance\ men as much as it is a hopeful engagement with them, the situationuc of latent homosexual ambivalence" (p. 16). Suggests that Donne'sII · lnlggle in midlife repro ents his search for a father and that hisu religion founded lin a masculine Cod eased conflict" (p. 16).l ' . BI{Q,\DBENT , JOHN, eel. Signet Classic Poetsof the 17th Century,vul, I. (The Sjgnet Classic Poetry Series, gen. cd.n John Hollandcr.)cw York and Scarborough. Ontario: New American Library; LandII : T he New English Library. xviii, 3771'.r duces and anthologizes the poetry and prose of Jonson, Donn e.

Herbert, Cra haw aughan. Marvell, and Dryden. I ole th I Dpoem arc grouped by themc: .ex nd platonic 100'c: valediction';and ironic poems; epithalamia: poems on church and state: poems. I rand sermons to or about patrons; religious poems; and poems 011 dQ uotc several passages to how that, in addition to the theme n IDonne was "ob essed with change, transubstant iation, conversion. mmorphosis. hence wi th dying" and suggests that his "overriding qualldensity" (p. 4)' Presen ts a chronological table of Donne's life (pp, --election from Walton's Life and Coleridge' Lectures (pp,election from the p em . both ccular and acred, along with el(with notes) from three crmon. and Devotion upon Emergent Orca(pp, 81- 135).""'J~ 6 27 . B ROOIe . CLF , :TIl. "Religion and Literature." R 2: Q,Argues that the functions of religion and literature must he Itguished, disagrees with those who hold thal poetry can perform rhfunction in an agc of disbelief that religion performcd in an ageofand argue further that poctr , in order to perform its pecial fu nneed religion. Comments on Donn e's use of rcligiou imageryin 111pocms and his usc of erotic images in hi divine poem . I otcs til"knew the differencc between religion and poetry since he 0 ob Imakes u c of a ten ion between the two in hi. profane IO\'C pohi Holy , onnets" (p, 98).~ ~ 6z . C AM PBELL, C ORDON. " \ ords and Th ing ': 'I'he Lanau:Metaphysical Poetry." um '&L 2 . iii: 3-15.Challenges critics, such as Rosemond 'Iu ve, who attempt "tomcnt with the analytical tools of the Renaissance in an nttcmpl to relhe sixteccnth- and cventccnth- entury readers' under landing of IIIctry" and argues that "the c method. althou h hi. tori a ll~ III 1If!ultimate] ' destructive. and that an appreciation of Rcnais an cparticularly metaphysi al poetry. i. predicated on a knowledge ofthideas about the nature of poctr . rather than an ability to irnplcmephilosopher. •ideas on how a poem hould be analysed" (p, ). hallal.0 the nution that Ramism a ounts for metaphysical poetry anmarizes the long debate among pod s and philosophers of lhc Rcnnisabout lhe primacy of words or things. Points oul that I onnc C Iuses logic in his poems but thai onc need not immerse ouesel Itcchnicalitic of Renaissance logic in order to follow the argumeinote the fallacies. Maintains that a genuine appreciation of Donnpoems "must be firmly rooted in an cnthu iasrn for hi Ian uag " I"we do not serve oursclve or the poetry if we look for the 'ideathe language is cloaking" (p. 10). Conclude that metaphy ical"primarily a poetry of words rather than things" and lhat "it i thcation of the power of words as words. and wc should be content lit at thal level" (p. I I ).I

_9. HA. ORA. l ARESH. "John Donne the Preacher," in Essays 011fohn Donne: A Quater Centenary Tribute, edited by Asloob hmadAnsari, PI'. 157- 72. Aligarh: Dcpartm nl of English, Aligarh 1 Ius­11m 1I nivcrsityu est- that only Anglican preachers of the seventeenth centu ry "havecureplacein English literary history" (I'. 158). Comments on Donne'n tiveness a a preacher: (1) his conversion from a life of excesses torpiety that allowed him to "visualize and personifya sin or ternpta-• italking on it ilcnt feet and knocking at the heart of the would-ber" (p. 1;9); (2) his deeply held belief in the importance of preachingnded in cripture and his conviction that public worship was preferoprivate devotion: and (3) his effective prose .tyle, "a most judiciou .lice between arguments and similitudes, exposition and expostula­I , .uuccnlralicn and extension. attaining to .omcthing like Allen Tate'sof tension in poetry" (p. 164), along with his concern to make1 elf fu ll>' understood by his congregation. Praises Donne's prose stylecnera] terms and regrets the decline after Donne of the eloquent styleaching.o. Cur L. Euo. English Literature: 1\ Historical Sun'ey. 01. 1:'11 the I omantic Revival. (Le lingue e Ie civilita traniere moelerneollana dirctta da Elio Chino!.) aplcs: Liguori. 686p.cpr duce "The Baite' (PI'. 169-70); pre ents a brief introduction toVI 's life, personality, and poetry (PI" 278-80), together with .eventions from the Songs and Sonets and four selections from the Hoi)'/J1l!/S (pp. 281- 96), and a selection from Devotions upon Emergention« (r p, 303-;). All texts and the introduction are in English; notesI It lian. Comments on Donne's reaction against the decorative andIi p ietry of penser, his realism and uses of colloquial speech, hislion of poetic diction and uses of the conceit, and his blend of thoughtion. ugge ts that his poetry should not be called "metaphysical:'. peaking, but rather "the poetry of wit." "taking wit to mean whatventeenth-century Italy was meant by atgutezza' (p. 280).l. COLLl\lEn, ROBERT C. "Another Look at 'The Apparit ion ." CP7: 34-40 •laintains thai "T he Apparition" "exhibits what Northrup Frye (in an­. context) calls a 'demonic epiphany'" (p. 34) and explains the poemprecise, though bla phernous construction employing religiou con­II" p. 5). Argues that the keys to the poem are the connotations10 t and apparition and shows that. ince in the eventeenth centuryrrn up/Jarition "could refer to a manife rtation, an action of re ealing,piphany, an advent," Donne "may not be talking about a specter; he•promi ing a manifestation of a spirit to a cornful mistress" (I'. 37).that "the twist in the poem involves a transfer of the role of therom Second Advent figure to Devil figure" (p. 38) in which he says

John Donneto his rejecting mistress, "Like Christ, I shall appear; like the Devil, I shallplague you; since you have by your scorn killed me and my love is toolittle to aid you, you must lie unprepared and unassisted to meet myavenging spirit" (p. 39). Concludes that the poem "proves that eschatology,wittily employed, excels even the power of scatology to vilify" (p. 39).~ 632. DAWSON, S. W, HARRIET HAWKINS, AND ROBERT ELLIOTT. "AsWe Read the Living?" EIC 24: 94-104.Three replies to Roma Gill (entry 554). (1) Dawson agrees that theteacher of Donne should "draw attention to the use of traditional themes,ideas and images when it is possible to turn related passages to criticaleffect" and must also "bring ... students to understand the ways in whichpoetry of the past belongs to its time" (p. 96). Maintains, however, that "toread Donne 'as we read the living' is the only way to grasp such of the pastas we find in him, not as information, but as experience" (p. 96). (2)Hawkins, without mentioning Donne specifically, argues against all closedsystems of criticism and maintains that "the first step in teaching our studentsto read the literature of times past and present alike is to encouragethem to recognize and interpret for themselves the great and enduringproblems posed, and the great and enduring realities exhibited in literature,"and that, although "these recognitions may require a knowledge ofrelevant historical information, a knowledge of related works of art, and aknowledge of interesting critical discussions of the literature," still "no sourceof knowledge has any final authority so far as our individual interpretationsof and responses to literature are concerned" (p, 100). (3) Elliottchallenges certain of Gill's assumptions about poetry, especially her commentson "The good-morrow" and "The Sunne Rising," and disagreewith F. \\Z Bateson's attack on F. R. Leavis in his response to Gill's essay(entry 532).~ 633 . DEITZ, JONATHAN E. "Donne's 'To His Mistress Going to Bed:33-38." Expl vz: Item 36.Suggests that Donne's allusion to Atalanta's "balls" in line 36 of "Goingto Bed" may not be a confusion of classical myth but may refer to femalebreasts. Cites several Renaissance sources to show that breasts were referredto as "balls" or "globes." Suggests, therefore, that "Donne knewwhat he was about" and is saying that all distracting baubles, be theyclothes, gems, or breasts, should not distract one from tasting the "wholejoyes." For replies, see Richard F. Giles (entry 750) and Edgar F. Daniel(entry 737).~ 634. DEMING, ROBERT H. "Love and Knowledge in the RenaissanceLyric." TSLL 16: 389-410.Discusses the concept of the self in the Renaissance love lyric and commentson "the functional relationship . . . between self-conscious lyricismand a kind of knowledge that would be acceptable to the posthumanistic

liogrtlph y ofCriticismI h R nai: nee" (p. 3 9). Argue that "if we wish to learn the 'why\ ' Renai ance poets made thcir po rns, we must can ider poetrym am of knov ing (an epistemological . tru ture) rather than as an10 knowl edge" and "we must further consider the poetry as modcIslf-discovcr and self-knowing and as modcIs descriptive of the processgaining self-knowledge" (p. 391). Maintains that the Rcnaissanc . lovehied to reconcile the inherent dilemma of his dual existence amimpted to harmonize his rational and hi passionate nature. Point nutnne's "Loves growth" i a good example of how love involve bothn and loving and suggests that the Elegie . though often een a 'I libertine, "pr ents a ten. ion between the claims of the eel . Iialh natural form of love" (p, 96). Ob crves that "all the vari tie:n hUI1l3n love that Donne expresses in his poetry are expre sed Inlola ical paradoxes because Donne alternately hopes for both loves,contemplative and the active, but argues poetically only for the)1 V I11cn! of human love" and thus should be seen as "a poet in con-With the demands of the flesh hoping for the dream of mens angelica"6). otcs that, since Don ne "cannot t II us what love is. he tells LISpoem 'Negative Love' what it i not" and that "in using the rhetoriciulc ti of negatives and extremes, Donn acknowledges hi literaryhi prcd cc sors- Pctrarch, W 'att, idney, pcnser, and hake­\ 'hu had. II di covered conflict and dialectical oppo ition at pre­\ tho:C pomt in their own taterncnts of 'human love' where theking on ciousness' questions itself and it. way of knowing" (p. 3(7).mments also on "The triple Foole," in which Donne shows that "he isbe uusc he has loved and because he knows that in 'loving' and'llIg so' in verse he has achieved power over love" (p. 398).-. I I ~ TA.IO, CLOTILDE, "Loves Sweetest Part, Variet)':' in tiulilugl' .j: Baccolta di saggi e ricerche, I , edited by Agostino Lornardo,pp. ~ 1-73 . Bari: Adriatica Fditrice.IFe in orne detail "The Indifferent" and ee the poem not. ,Jillion 0 infidelity but as a rebellion again t prevailing concept. oflove and Petrarchism and sugge t that in it Donne substitutes a• E. er .cnsuality for the older ideal. Points out that Shakespeare andshared some of the same notions and discusses the systematic dectionortrnditional concepts of love through irony and humor in such111. as "WonH1 lls constancy," "Song: oc, and catche a falling starrc,"diet," " hange," "The Message," and "T he Apparition." ugg sstsh ontrust of uch poem to [ onnes other love poems may be a"di cordia concors" or a parallel to hakespeare's use of comic orami enes in his tragedies. I otcs that themes of instability andin!'.' are reflected also in the religion and scientific thought of the6. Dmcks, P. T. "TIle Dramatic Structure of 'Loves Alchymic.' "El1glish Quarterly (Toronto) 7, no. I : 7-9.

Maintains thai in "Love Alchymie" there are two distinct peakerthat "the bulk of the poem is addressed by one pcaker to a fi tinotcner, who eventually que rtions the speaker" (p. 8). Argue thai 1 (Iusc of two per onac explain the two markedly different allilud Ilove in the poem and that "notable differenc in language, rh~ thtone distinguish the ironic bittcrnes of the first persona fro m the h 111query of the second in II. 3-1 t " (p. ). Pre cnts a brief rcadinp em to how that it i an organic whole and that it effective!) r •the drama of conflicting ideas. 1 laintains that "the contrast hetwelanguage, rhythm. and tone of the two personae provide 1Idramnutration of Donn e' intellectual analysis" and suggests that in titDonne "di hotomizes, for purposes of examination. the elements of phpn:sion and spiritual love which he fused in his great love poetr .' (I•V'! 637. DOEBLER. BI~1T I E A, NE. The Quickening Seed: Death 11ISermons of John Donne. (Salzburg Studies in English Lile l. IElizabethan & Renaissance Studies. edited by [arne: Hogg. 110.Salzburg: In titut fOr cnglische prache und Litcratur, Univalzburg, vii. 297p.Discusses Denne's sermons in I:he light of seventeenth-century alIItoward death and from his 0 \ n per anal perspective of the ubie ttcr 1 , "T he Qu ickening of the Seed" (pp. 1- 6), challenge. th Ithat Donne i. preoccupied with death in his poetry and prose and IIthat he presents death through morbid concep and image . Ar uhi trcatm nt of thc ubie t must be een in the light of e 111century tradition , especially biblical eschatology: Creek and Rom;1I\011 death . which Donne often used to support Christian orthodo udeepen his own vivid 'en e of death: and the main trearn of carltian and medieval thought on death. late that Donne "wa an I Ithis lraditi n whi h focused on death and analytical consideration Ia rucial human and religious experience" and that he employed thand images that "arose out of the long history of thought concenung(p, 6). Chapter 2, "Doctrine and Poetry" (PI'. 87-14;). di e ll. SI:tccnth-ccntury theology of death, particularly as it was relulcd lu 11trine of atonement: comments on devotional literature of the penreflected in various sermons. meditations, and tracts: and shows holl'saw these ideas and altitudes in the light of his experience as II poetlyzcs the theme and images of "Coodfriday, 16 1 . Riding Wesl\\ rcause Donn e "in ludes within it the experience which is thehristianity- the experience of one sinful huma n being, moved In rtance by a confrontation with Cod Incarnate" (I'. 144) and b ' 1rcflec I onncs per onalit , "which rest upon a univer al view of hnature and which seeks out the essences through the personalil . andticularity uf the intelligible world" (p. 14;). Chapter 3. "I onn . I 1the Crcat Tradition" (pp, 146-88), examine! Donne' altitudlui tian history and tradition. noting in particular his debt to h

Blb/iograph )'of Criticisml. Paul and analyze. the themes. tonc, images, and structure ofI funeral sermon . Chapter 4, "The Long Art" (pp. 188-22 ), exonnestreatment of death in the sermon as a whole and discu sesh handled traditional and conventional materials and themes. suche ari. ing from the ars manendi tradition. uggests that the sermonsvhol how hi "constant effort to balance and to synthesize materialiritual rcali - an effort characteristic of the growth by death into alife" and s it were "contain the record of piritual growth towardand the life to come" (p. 227). Chapter ; . "The Long Meditation "-29-63}. comments on Donncs view. on judgment. hell, and heavenre flected in hi .errnons, noting that he tends not to emphasize the131 details in portrayals but achieves passionate feeling through the in-It) of hi. thought. Chapter 6, "T he Qu ality of Merc y' (pp. 264-89),ludcs that Donne's "experience of mercy and the depth of thanksgivhill accompanies it- a thanksgiving from the heart of one who hasr hed the depths of his own sin-gives form to the internal structureh paradoxically encloses the external architecture of Donne's writingd preaching on death" (I'. 265). Argues that, although he owed a greatto trad itions that formed him, Donne's distinctive expression andI \'1 ion cannot be undere timated. Discusses Donne's view on thef the prea her and ana lyze his sermon preached at St. Paul's ontrnas 1 6~~ as an example of hi . theological position on atonementhi three serm on s on the resurrection preached in 1626 as exampleill) in the rc urrcction . Bibliography of works cited (pp. 290-97).~ . Do. I ' E, JOHN. Letters to 'el'erall Person of Honour (1651).ngli tica & Americana: cries elected by Bernhard Fabian.~d ga r Mcrtncr, Karl Schneider. and I!arvin pevack, no. 1.j. .) Hildheirn and I cw York: Olm. Verlag. 3 1 p.irnile of the copy of Letters to 'everall Per, ons of Honour (16; 1 in. rary of the nivcrsity of ottingen ( helfmark: 8 0 Hist. lit. biogr.1 ,- 2). Frontispiece reproduced from copy in the Library of TrinityI c. 'ambridgc (.liclfmark: Crylls, 16.162). 0 notes and no comitary,3( , . Pseudo-Martyr, A Facsimile Reproduction with an Introductionby Francis Jacques Sypher. Delmar, N.Y.: Scholars' Facsimile& Reprints. [viiiI, 392 P,irnil e reprint of a copy of Pseudo-fvl art)'r (1610) in Th e British Li-• London ( 10° 9 .e. 33). Presents a concise historical introduction tone' d fense of King James Is 'J'riplici Nodo, Triplex Cuneus, or anI (or tire Oatlr of 1\ llegianee, against the two BreuesolPope PaulusIlu and tire Late Cardinali Bellatmin e to G. Blackwell the Arclr­I don. 16o ). Point. out that Donn er defen e "resemble more1briefthan a work of imaginative literature" but that "it nevertheless

has the rhetorical and literary virtue of being both precise and rnoderand avoids the tone of "the raging tirades and vicious personal accu:allthat were then the staple of controversialists and pamphleteers" p uotes Donn c s uses of vivid images of physical corruption. disease,death; his uses of metaphors drawn from a wide range of . OLHCCScherny, astronomy, natural history, navigation and geography, rhetoetymology, and warfare; and his uses of startling eompari.on and I ILists modern critical tudies of Pseudo-Mart)'r and notes copiesof thedition available in American libraries, Offers a modern table of coni I~ 640. ' ARLEy - H II. , DAVID. The Benevolenceof Laughter:Comietry of the Commonwealth and Restoration. 'lbtowa, N.J.: Rowland Littlefield; United Kingdom: 111e Macmillan Press. viii, 2\Mentions Donne throughout this study of comic poetry of themonwealth and Restoration. Notes that comic poetry during the C Imonwcalth "increasingly comes to mean something more disruptive ethan [onsonian comedy" and is "often no longer play-acting" (p. 18 )it is in Donn e and the metaphysicals. Notes also that Donne's eyni IS!lin such poems as "The Indifferent," "seems to be rather the result ofa /d'espri! than an expression of settled conviction" (p, 23) and that hisof the catpe diem theme are mostly a game. Comments on Donnrelation to Cleveland, Dryden, and Rochester and briefly discusses I 1Iviews on sexuality especial] as revealed in such poems as "Va riel ','" JRelique," and The Progtesse of the Soule.~ 641. FE RN,\. DEZ S U f\Rl~Z . JosE RAMON. "Repercusione de Itde Fray Luis de Granada en los Sermones de John Donn .~ 1(Valladolid) + I J 1-3 1.Briefly comme nt on the enormous popularity of Fray Lui de Gr:1Ilin England and on his influence on English poets of the late sixteand earlyseventeenth centuries, including Donne. Notes that Donne• punish, had traveled to pain, and was familiar with Spani h lit °mlespecially the religious literature. Presents parallel passages from Ih-wof Luis de Granada and Donn e's sermons to show that on such tOI i ·the relationship of creatures to the Creator, the miseries of man, eligrace, prayer, fear of the Lord, and penitence the two share similar iJand often use similar words and images. Maintains that, although tl rno evidence to show that Donn e specifically read Luis de Cranada ,although no one parallel proves a direct borrowing from his worksnumber of parallels, when taken together, strongly provide cvidcncSpanish writer's influence on Donn e.~~ 642. F LEISSNER, ROBERT F. "Frost's 'Moon Compasses:" 1~ .\11Item 66.uggests that Robert Fro t had in mind Donne's "/\ Valediction: Iding mou rning" when he wrote "Moon Cornpasse ." Point. out ih,

ing 10 'a masked moon' covering a 'cone mountain' with light, hegeometric imagery with ernpha is upon circularity in a mannerIar t that uggested in Donne's poem. though without the neces itynhoducing an alchemical allusion."r . F JI1. TAKEO. "Donne' 'Cano nization' and 'Extasie.'" Kenk)'iiRonshii (Kan ai niv. of Languages) no. ::?o1 (February): 1-9 .iI In The Renaissance Bulletin (T he Renaissance Institute, Tokyo)): ::0. navailable,. ,HO II. P. K. 'T he Problem of in and Salvation in the ermonoof Donne:' in Essl1 }'s on fohn Donne: A Quater CentenaryTribute, edited by Asloob Ahmad Ansari. pp. 173-85. Aligarh: Departmcnlof English. Aligarh Muslim University.uggests that Donne has little original to say about sin and salvation inr crrnons but considers his treatment of them to be distinguished by hisnfessional truth" and "the way hc grapples with them to seek a resolutothe paradoxes and the pessimism that accrued to him from his ownpcnences of life" (p. 173). Discusses Donne's preoccupation with sintil original and actual) and his overriding sen 'c of guilt and commentserally on hi view. on .alvution and grace, especially his belief that. I is the only guarantee of salvation.4-. CUll. R. B. "Another Reference to Donne's 'Satire HI'. II. 9­2." ' \1i&Q 13: - ' - ; 4-.int out that Richard J liccols .. •pig. III. In templum honori " inues Ecomium: or, the ImageorHonour (16q) contains verbal cchoeanne' description of the Ihill of Truth in Sat yte III (line 9- 2).a t that, ince iccol had little connection \ ith Donne, the epigramone to believe that Donne's manu cripts circulated outside the circleii immediate friends.46. CRr\ J'. PAT RICK. The Tran siormation oi Sin: Studies in Donne,Herbert, Va ughan. and Traheme. Montreal and London: McC ill­Queens University Press; Amherst: University of Massachusetts Press.xiii , 240P.JSCUSSCS the poetry of Donne, Herbert, Vaughan, and Trahcme "inr.ms of a hypothetical encounter between guilt culture and enlightennt"(p.38), or, in other words, in terms of a conflict between traditionalu tinian theology and sensibility and a new ethical view of man. Al­19h Donne is mentioned throughout, Chapter z, "Augustinian Spiriitvand the Holy onnet · of John Donne" (pp. 40-72), is devotedrely to a di cussion of Dorine' medieval and Augustinian spiritualityI Franci can tradition and argue that thc HoI}' Sonnets are greatly(1J1CO bya tradition that is both ba ically Catholic and peculiarly Enh.Compares t. Bonaventure' hymn. Laudismus de Sancia Cruce.

244 • [197+1with Donne's /-loly Sonnets and shows that Donne' onnets are, in"a ynthesis of, on the one hand, a traditional Augustiniani m ...on the other, a charactcri tically seventeenth-century latitudinanat dto repudiate the harsh doctrinal derivations from Augu tine, ueh 11found, for exarnpl , among the Reformers" and thus the 110/)' • ondramatically pre.cnt a struggle that attempts "to discover a middle\imply between atholicisrn and Protestantism (which the Angli Imedia i often represented a e pousing) but between the traditionalculture inheritance of Augustine, represented by Franci can pmnuIand a typically enlightenment coplatonist latitude" (pp. 42-4' . Shspecifica lly how th Holy O1wets are informed by ugustinian the [and sensibility. noting that the)' are "centrally concerned wi th coutnand the twice-born experience of regeneration, stressing the cenlralithe cross to salvation and using techniques of affective piety to still I.fear of last things as well as awe of the crucifixion itself, and infur Ithroughout with lJ profound sense both of the fallen nature of 111.111Adam and of the link between Adam and the blood sacrifi ce of the Ie Imen!" (pp. 6+- 6 ~ ) . , uggcsts also that in the Hoi)' Sonnets Donne i • 1sense, a precursor of the Cambridge Platonists, such a. Henry MnrChapter 3, contrasts Donne's turbulence in the Hal)' S Oilnets with .eHerbert's quiet assurance in The Temple and finds that the main rfor the differences is that Herbert is "a more assuredly Prole lant Ihgian than Donne, as his acceptance of the typically Calvinist doctrinpredcitination and the Convcnan t attests" (p, 7 5). In Chapter 6, Cl n .Donne with raherne to how that they are unlike a devotional poto observe that in Trahernc the Augustinian tradition no longer pr dnate.~ 647. G RECORY, ~v IJC HA EL . "A Theory for Stylistic - ' xcmpllDonne' 'Holy 'o nnet , IV' " Lang&S 7: 108- 1 .Define a theory of interpretative stylistics, based primaril on th Iguistic model of John Rupert Firth, and notes that "when the langu Ia text is examined, not as a source of information about plot. charavision, ctc., hut as the major focus of attention in the dialectical piof criticism- that is, when the response and the statement are prh 'involved with the use of language itself in the text-then the critipursuing interpretative stylistics, a very central kind of literary crili Ibecause it concentrates on the medium of the art of literature, langu(p. 1 10). Agrees with Susan Sontag in Against Interpretation (196 ll"to confront a work of art with 'what does it mean?' as the initial qutoo often means that it cease. to be treated as a work of art, as artand is looked at a though it were something else- a piece of Ih 1sociology, philo ophy, or political theory" (p, 110) . Describe the I Igrammatical. and iluational features of "Batter my heart." Maintaian "examination of the language of the poem, its internal pattern

Bibliogra phy orCriticismr xternal relevance, shows it to be lingui tically dynamic, coheren tomplex" (p. 116) and that such an examination "leads us to knowfor Donne the religious commonplace was 110 commonplace but agh that had been felt, proved upon his pulses," primarily because "hert in relation to known c. pcrience " and because "he reveal. patternsullin!)' mongstdiverse: experiences" (p. 117). Concludes that in dealingthe poem "lexically. grammatically. and situationally; discerning itsI and external patterns, we can enter into a developing response tond in articulating a statement about 'what it is' and 'how it is' make alent of meaning about it that leaves it as a poem. a work of art usingmedium of language" (p. 117).4 1-IAI\II\fO, D. GERALD, eel. The Alletaphysica! Poets: A Selectio n orCritical Essays. (Casebook Series. gen. eel . t\. E. Dyson.) Londonlind Basingstoke: Th e Macmillan Press. 2;4p.llcction of previously published essays. Contains the general editor'sce (p, 9); a general introduction that outlines the reputation of meta­, I 31poetry and metaphysical poets from the seventeenth century toresent (pp, 1 1- 32); a collection of twenty-four essays or parts of cssays-t--:q tl ~ a selectee! bibliography (pp. 243- 45); notes on contributorsrt three (pp. 247- 48): and an index (pp. 249-54). Part 1 . "Sevenith-and Eighteenth-Century Criticism" (pp. 34-;4), contains selecfromThom as Sprat, Edward Phillip' William Winstanley, Gilesthe anonyrnou editor of Select I-/)'nms Taken (Jut of 1\11r l Ierbert'spie 1169 ). [oscph Addi on , John Oldrnixon, the anonymous auth orIDialogue on Taste(1762). andamucl Johnson. Part 2, "I inetecnth­, rl. Twentieth-Centu ry Criticism" (pp. ;9-88), contains electionsleridge, Hazlitt, De Qillincey, Emerson, George Macdonald, AInderCrosart, Arthur Symons. and T. S. Eliot. Part 3, "Recent Studpr.9-2.:1-1 ), contains .elections from Rosemond Tuve, "The CriteofDecorum," from Elizabethan and Metaphysical Imagery (1947);pitzer, "The Extasic...• from A IYlethod of Interpreting Literature(), S. L. Bethell, "The alu re of Metaphysical Wit," from NorthernI eellall )' of Litera ry Criticis m (1953); Joseph H. Summers. "Georgel,crt: The Conception of Form." from George Herbert: His ReligioncI \ rt ( 19 ~4); Josephine Miles and Hanan C. Selvin, "A Factor Analysis, Voca bulary of Poetry in the Seventeenth Century," from The Comrand Literary Sl)'!e (1966); Earl Miner, "T he Metaphysical Mode:lion of Time." from The l\tleta(Jhysica! Mode from Donne to COlvle),12, ): and Rosalie L. Ce lie, "Andrew Marvell: Style and Stylistics,"'M ' Ecchoing SOl1g'- ndrew lvlarvell's Poetry of Criticism (1970).. H ARR) ·ON. JAMES. " ynta: in Donne's'The Dreame.'" HAB 2;:14 1 -r ·

Analyze "The Dreame" to show that in the poem Donne eX311lJland explores a very personal love, "which, initially perfect andquently flawed. is in the end left tantalizingly in the balance" and :11that "these characteristic are inherent in the very texture of the lanused" (p. 14 2). Discu ses various syntactical and rhetorical Ieaturpoem. uch as the complex usesand close proximity of personal pr n(nineteen instances of the second-person singular in thirty lines), thof repetition and of objective complement and inversion. the ernmcnt of antithetical balances, and the creation of certain verbal equal'in order to demonstrate how "the lines move from affi rmation ofP ftion to exploration of imperfection" (p. 143). Shows how for exumplwhole second stanza is "a single sentence of mounting complexit ,.how the concluding couplet of the stanza is "one of the most superbDonne's many bragging overstatements of love" (p, 143). Consider .the theological argument of the poem, which is inextricably bonnwith its syntactical and rhetorical features. Concludes that in li lt; IIstanza the poem recovers some of the syntactical and rhetorica l aploinlits first two stanzas, but much less dogmatically, with new tcnlaliv nand asserts lhal the poem is thus "one of Donne's more intcre tilll!candid comments on the business of loving" (p. 144).~ 650. H ASAN, M ASOODUL. "Donne's Verse Letters:' in Essa)'s onDonne: t\ Q uat er Centenary Tribut e. edited by Asloob Ahmadari, pp. 59-85. ligarh: Department of Engli h, ligarh ~IuUniver ity.Briefly traces the history and development of English epistolaand sugge t thaI Donne's informal. personal verse letters, modeledtho e of Horace. made original contributions to the genre. Corum IIthe high opinion Donne's verse letters enjoyed not only among lustcrnporarie , such as Thoma s Pestell, Jonson, and Dekker, but also anthe eighteenth-century poets. especially Popc and Dr, Johnsun. R'the major themes of Donne's verse epistles and argues that, altlJIJughmay fail to find ill them the vision, intensity, dramatic realism, andsubtler shades of thought and emotion that characterize the best 0Songs and 50llet s and his religious poems, the verse epistles mark ;II Iportant stage in Donne's development in the handling 0 prosody, IIture, and certain major themes. Suggests that Donne as writer 0 IIletters may have influenced Jonson but point, out that "in depth or 111 Isubtlety of wit, range of subjects and technical virtuosity. Donne's pihave a distinct advantage over Jonson'sepistolary verse" (p, .I). C rnDrayton to Donne and concludes that Drayton's expression i peril"more smooth and racy, and the couplets more refi ned than Donn 'in the breadth uf hi interests, artistic manipulation of argument,structural varlet •the latter i decidedly the more attractive and influpoet" (pp, 1- 2).

1 H EOI::TOFT. LF. "The Contra ct d niverse of Song and So-I : \ Diale tical Analysis." Lang 'L 2 , iii: )2-54.cuts a larxist dialectical analysis of the Songs and Sonets in orderbare certain connections and structures, certain dynamic developbithwithin the Songs and Sonets them.elves and between themIf' ociety" (p. 33). Concentrates on the influence of various 0 -nd hi torical factor ' 011 Donn e' ac thctic consciou ne , uch atrugglc. the breakdown of feudal and aristocratic society. the ri er1)' pitali rn, the collapse of the order and lability of a hierar hicalf th co ITlO , and . 0 on , and ugg '. Is wa '. "in which the ideologi-U tunng of the ongs and Sonet. points be 'and itself into Donne'sli~ .. p. ,3). Comments on Donn e' dherence to an aristocratic and11 iewpoinl and notes that "it i pr ci cl . this cia context thatak the ong and oriets pos ible and limits their scope and theirIOU n " (p. ,5 ). Discusses four major \ ays in which thc aristornmcworkof the poem is rnanif sled: "(i) imagery (Court' images,In of Being' images), (ii) exclusion of material and consequent dclirn­1 ,rtheme . (iii) the element of non-work, leisure, and (iv) tone( )I rn, off-hand mann er. wit. defeati m, el .)" (p. 36). Di cu es howrncorporat ' images from the "new world" (geographical cxpanoen . trade. and so on) but u e them only as image and howme \ rid I made to con tra t according to he rule determined by'ho 111 Important respects is the ideological-social product of thi\p .p ). A rgues that Donne' oci ·t)', then. is present in the ong5net "both in the poetic expansion and in the ideological contrac­, 4 \ ) and that ultimately "the aim of the proce s of contraction istahlishing of a personal realm of order and harmony ... which.orrc pond with (the 10 s of) the collective order of thc hain of\\ ho d . .truction i m irrored in Donne's u e of it-whcrea. hi1.1 car h i triggered by certain hi torical and ocial developments,red In the 'ncv world' imagery" (I'. 4 2). 'Iaintain that onnc'" IdL'a1 love. which i ultimatelj fru trated. leads to further ideal-10 ' Love. and finallv re ul in hi eareh for tran cndcnccI n, hi fin I attempt to escape th material reality of hi crumbling52. II WMI\ N. 'J'H EODO RJE. "John I OIJIIC." TLS, 20 September, p.10J ., Ii ~ to Da id McKittcrick and R. S. 'l'IIOI'n50n (entry 673).I' tha the copy of the Coodfriday POCIll in hi. po cion i dcfinIII onnc' hand. ee also ~I i had Hor nell (entry 654). R. ' .II and Da id 1 Kitterick (entry 7 10). 'i olas Barker (entry 20 ).Ilon and P. J. roft (entry 6 16). and [. Max Patrick (entry 6 ).KAI{L JOSEF. "1\ I urcmberg Book in the Bodleianwncrs ." Ang[ia 92: 177- 79.

Comments on two Ccrman books, Sebastian Munster's COlill/ogTa(J}(Basel. 1578) and DeT Stat Nilrmberg vemeuie Reiotmaiion (Nurcml1564), given by Edward Parvis (or Parvish) to the Bodleian LJllI':Jl1603. The fi rst conta ins :1I1 inscription and a signature that -how Itoriginall . owned by Donne. Suggcsts that Donne may hav gi eParvis in acknowledgment of assistance given to him during hi t Iabroad. Com ments briefly on Parvis. a London merchant who h,dbne s connection in Germany and Venice.~ 654- Ilo RSNELL. MICHAEL. "Man uscript find throws new lightpoetry of [ohn Donn e." The Times (London), 16 Augu I, p. IAnnoun ce that the copy of Donne 's Coodfr iday poem. discovereR. S. Thomson and David MeKitterick in the Hu ntingdon Recordfice (formerly in the stables at Kimbolton Castle until 1( 52) i in DOIIIhand and va lued at about 10 0 ,000 pounds. Suggests that lhe llod]Library is expected to be interested in purchasing the manuscript. I"urlsuggests that five other docum ents found in the collection are bv DonReports various comments on the importance of the discovery 1.Kitlerick and by Sir Ccoffrey Keynes. For a full account byThorn '0 11Mckitterick, sec entries 673 and 7 10. For replies, see Nicolas Bark rtry 620), Theodore Hofman (entry 652), R. E. Alton and P. J. e mfll I616), and J. Max Patrick (entry 688).~ ~ 655. H OUGH, GRAHAfll. "An Eighth Type of Ambiguity," III \\ 11Empson: The -Ian and His Work, edited by Roma Cill, pp ­London and Boston: Routledge & Kegan Paul.Suggest that "behind Empson's seven types of ambiguity there lureighth-ambiguity between intended and achieved rneanin ..and Iis "in the interplay between intended and uni ntended meaning thalprctation finds most work to be done" (I'. 78). Comments on" all'and catche a f.111 ing starre" to illustrate this kind of ambiguityand lthat to interpret the poem one must consider "not only lexical andtactical meanin g, but connotative meaning, associated suggestion, rllrnical and auditory effec ts" (p. 83). Argues that in suc h a poem there 1one best reading. Analyzes the intended and achieved meaning ipoem and shows the differences between its intended and unintcnd.fed s: "T he achie ved effect is not one of bitterness and disappoiunubut of energy curiosity, intellectual and emotional life, even if 'II Iwithin a recognition of limits and frustrations" (p. 84). Observes lIml .swcrs to questions about what the poet empirically believed wil l n Iessarily yield answers to questions about what he is doing in :1 poem86-87).~~ 656. JOliN 0 • C. D. "Bedroom and Landscape in Donncs I'ltand Sonnets." Cresset 37, no. 4: 6-9.uggcst that b • studying the phy ical settings in the Song andone can view "the e poems of love and death in an UTIU ual pers

hich revea ls some things about the craft and the themes of individ­'I llS, as well as Donne's attitude toward the world aroun d him" (I'.] nints out that "Donne has his lovers act out their parts in carefullyn interior and exterior settings which are almost without excc p­~lIcl)l1lpa ssed in little rooms" (I'. 6). Notes that the "sole interiornr-the rooms of love and the rooms of death, the latter includinghi xl and tomb," and further discovers a thematic balance bethetwo: "there are ten poems set in the rooms of love and tell ino 111~ of death" (I'. 6). ote: that "in all the deathbed poems, lovelen til arc connected visually because the deathbed constantly recallsv.hcd" ami that, "for the most part, when Donn e writes dramaticallyn egation of physical love-denial, platonic love, grief- he chao. eI e 1I setting" (p. ). Point out that only live poems in the ongs. onet have an out-of-doors setting and that even in these Donn eI, ~ III lake the walls of the room with him" and creates "roofless,. (p. l. Suggests that Donne's very limited use of natural settings, I' his general discomfort "with the geocosm, plain and unadorned"and notes that, even when he does use a natural selling. he docsI III I ith it.I( I\UA . B. K. "John I anne in Hi Own ge," in Essays 0 11 fohnDonne: QuarterCentenary Tribute, edited by Asloob Ahmad Anuri.pp. 1- 24. Aligarh: Department of English, Aligarh Muslimniversity.I iment all Donne's reputation and influence during the late si. ­and carl ' seventeenth centuries. Discusses Donne's audience andaltered contemporary references to his poetry. Stre ses that. al­I onne published very little of his poetry du ring his lifetime, he\'Idel ' read and admired as a wit among a discriminating minorit y of11:1111 readers and hence in fl uenced the direction that poetry was subllvto take. Suggests that Jonson's appreciation of Donne is fairl ynlative of this intelligent minority of readers. Points out that DonnespOI r:o reputation rested primarily on hi two Anniversaries, theand th Elegies, and a fel amatory poems and notes that there arcI cmporary references to Donne's religious poems.. M WAM URA, JOlcllmo . "Counter-Renaissance with Donne as lhenlral Figure," in Renaissance to Han-Renaissance [Renaissancen I ounter-Renaissance], by Haruhiko Fujii, Shuji Taka·hima.kashi asayarna , Susumu Kawan ishi, and [oichiro Kawamura, pp.;9-~ J4. Tokyo: Gaku eii ha.nls omments hy five Japanese critics (J-1aruhiko Fujii, Shuji 'Iak­, 'lakashi Sasayama, Susu rnu Kawanishi, and JOlchir6 Kawamura), r lalionship between Renaissance and anti-Renaissance literature,It tion of sensibility versus uni fied sensibility, love lyrics, mann erdbaroque poetry. Translates into Japanese "Co ing to Bed:' expli-

cate it. and uses it as a primary example of anti-Renaissance literalores that

s the . tanza," thus making the globcmaker image simply a "necessaryarafion for the image of the tear's becoming ,1 world when reflectingbeloved's face." Points out that in line 14 "it is this tear wearing ang of her, which grows into ,1 world just as the 'round ball,' wearingI f ontinents, grow into a globe." Argues that lines 17-1 further~ p Ihe conceit: "His tear ' arc mixed with her because her face isi1 reflected in his tear. Thu: as she weeps, her weeping becomes surnposcdupon his tear. and the 'world' of his tear is Aooded by herpi llg ," Notes also that "his "heaven' is 'dissolved,' fi rstly, since -she is hise ll 'from which these Roods pOUT down" (as noted by Helen Ca rdncr) r e lition. Oxford. 1965. p. 1(8 ) and, "secondly, since these Rood,I' solving the image of her in his tear. theyare paradoxically dissolvingll ~ 'heaven' also.":!, !\:EI{MODE. ERAN K. ~~TEP IIEN FENDER, AND K ENNETH PALM ER.Ellglish Renaissance Literatu re: Introductory Lectures. London: Cray­~\' Iill s . vi, L.j.5p.mtains two university lectures on Spenser (by Kermode and Fender).turc on Donne (by Kerrnode), and six lecture on Milt on (four byand two by Kermod )1 given between October 1972 and Marchontains a short preface by Kermode (pp. v-vi in which he stressestil lectures are "purely routine" and "were not what the authors would, writtell ," In Chapter 2 , "Donne: Lecture One" (pp. 30- 40). Kcr­~ , outlines some of the literary and intellectua l concerns of Do nne'stress " Donn e's interest in hu manist and scien tific works but notesI medieval mode of apprehend ing the world about him; commentslor characteristics of his poetry (especially argument. hyperbole,11 u nity. use of the conc eit, and stanzaic experimentation ) and iII ustheseby a brief readin g of "The Drea111 C." In Ch apter 4 , "Don ne:fmc '['\VO" (pp. 41-53), Kcrrnod e discusses in more detail Donne's usesI and the conceit and suggests approaches to his poetry by explicatingi\leh mie," "A Valediction: of weeping," and "The Extasic,' Stressesn e of Donne's love poetry and rejects the notio n that a consisten tphy of love emerges in it. In Chapter ), "Donne: Lecture T hree"- .~- 17), Kcrmode survey Donn e's Catholic background and his pro­II interest in religion; discusses the Elegies, especially "The Ana­I " "all his Mistris," "Natures lay Ideot," and "C oing to Bed," to illus­I onnes libertine poetry; and comments on the Satyres, especially II J In Chapter 6, "Don ne: Lecture Four" (pp. 6 - 82), Kcrmodcc several of the verse epistles and especially the Anniversa ries andin, briefl y the influence ofdiscursive meditation on Donne' poetry.mpler 7. "Donne: Lecture Five" (pp, 83-95), Kermode surveys Donne'sI I. poetryand comments briefly on his prose; outlines Donne's reli­.tl 'v ilopment; discusses in some detail the Devotions upon Emergentu i liS lind selected passages from the sermon s and in a more cursory.·lIdo-lv/art)'r. Biathanatos, Essays ill Divinitv and Ignatius his

Conclave; regards the Holy Sonnets as Donne's most important rc1 ig\poem , " oodfriday ,613. Riding Westward" as his best occasion Iand "Hymne to Cod my God. in my sicknesse" as his most ignili,hymn.~ 663. KERRIGA, , W ILLlMvl. "The Fearful Accommodation ufDonne." ELR 4: 33 -63·Observes that "Batter my heart" and "Show lTle deare Chri f ' oft 'Iturb the modern reader who finds the anthropomorphism of Donn'plexing and notes that the sonnets "raise the larger question of h \why Donne thought of man while thinking of Cod": "Approving lh thlogical tenor, we suspect the anthropomorphic vehicle" (p, 140).cially Donne's effort to have the reader imagine in some detail the sex cit)' of God. Outlines the history of Christian accommodation and COil idits psychological implications in order to explain "the strategy of thcssonnets, clarify ing both the logic which informs them and the arllbl\lence which they inspire' (p. 340). Presents a detailed reading of thsonnets to show that Donne "alone explored the differe nce betweenas we know him and Cod as we must believe him to be, cornpcllin IIrecognize the conjunction of vice and virtue as the necc sary con liti Iour knowledge of the deity" (p. 36 1). Suggests that the paradoxes 111two sonnets "reenact. within the particular terms of their anthrojphism, this conccalrnc nl: behind chastity is violation. behind fid Iiadultery" and that. "mysteriously, our love of God is linguisticallpsychologically inextricable from our lust" (pp. 361- 62). oncludthe sonnets, therefore, liould not be seen as "the pathological imp Iof a terror-stricken convert nor the doctrinal cxposition. of a .1011[armis!" but rather as examples of Donne's "permitting the tradition; Iguagc of devotion to mean what it does mean and opening that lanuntil, having proposed a fallen God, he raised his healing parad .36 ).~ 664. KNI GHTS, L. C. "All or I othing: A theme in John I nun .'William Em(;son: The j\lIan and His Work , edited by Rorna III1°9- 16. London and Boston: Routledge & Kegan Paul.Notes that in Donne there is a "confl ict between his sense of th .mous importance of his own immediate experience and the sen'{' \1own inadequacy and unimportance,' that is, "the immoderate anddroptic thirst for 'all' (or at any rate for a verywidely inclusive exp ·Iiclashing with the feeling of being 'nothing" (p. 109). especia lly n Iin his letters, verse epistles, Biathanatos, and the Anllil'ers(Jrie,~that this confl ict is often expressed in terms of the call tempi us mtltheme or through a rejection of a fragmentary, di 'appointing \ 'orldsuggests that Donne found an adequate solution to his en:e 0 I rlonly in "a life of au. tere devotion and duty" (I'. 1 1 ~ ) . Ob ervc Ih, Ionly in "The Litanic' that Donne "comes to terrn with the all or n II

I h rs in :I sober recommendation." and yet it is "his confrontation ofnugncss that results in one of his greatest poems" (p, 114)- "A nocnII I upon S. Lucies day," a poem that "by the very energy of the ac­I o[ 'how it feels to reach absolute zero' and 'how it feels to think-ou arc there', become a kind of affirmafion .. . a victory overmd the ense of nothingnes that is its theme' (p. 115)'5. KUU N PHILI P C, "Donne's 'Obsequies to the Lord Harrington':Iheme, Structure, and Image." SoQ 13: 65- 82.views briefly the critical reception of and various critical responses toc [uics to the Lord Harrington." maintaining that the poem shouldI a higher place than most critics give it. Presents a brief sketch ofn lOTI'S life but arguc. that the poem is more than a biographicalI of a promising young gentleman and suggests that it "provides thei n for 'ome serious meditation by the poet" (p, 69). Points alit thatlea of a eorrupt world and the problems of securing corrective inforlorin order to recover virtue are tile major issues behind the 'Obsc-,.. shows hm the poem "moves through a dialectic of doubt and:' and illustrates how. "tilrough appropriately created images of mea­.nt and direction. Donne explores the nature and consequence ofIn t II'· death while setting him up as the symbol of the heavenly, much as he did for Prince Henry" (p, 70). Sees the poem as aIil itiolllli devotion, structured by a series of eight questions, in whichI c "agonizingly searches for the guideposts of man's spiritual knowlndfor proper ways of acquiring virtue" (p. 70) and notes how Donnete between despair and hope until he reaches a final solution., ho\\; "employing a cries of images stressing the human instrufphysical measurement- maps, mirrors, compasses, scales, sun, nd clocks-Donne represents Harrington's potential power to indearth-fettered man" and "establishes earthly correspondences for di­\ isdorn and spiritual assistance" (p. 7; ). Concl udes that, "throughdilation enriched b I these images, Donne has arrived at hi ownII odated truth," for "he learns that the virtuous man, howeverhI. . tay on earth may be, is still equal to the potential we see inI ' a).L EI! , 8 l.AYTON D. "Donne and Ronsard." N&Q n.s, 2 1: 90 ­92.I ntrfies the possible sources and contexts of Donne's only specific ref-, ) Ron ard, which occurs in prefatory sentences to Problem rour.I there more Variety of Greene than of other Colours?" in ,rsle (h, Notes everal passages in various of Ronsards works in which(Ili mt inns green eyes (/'oeil l'erd). the figure thai Donne refers to. uglhnlI onne may have known several of Ronsards works and that hehave been influenced by Ronsards experimentation with stanzaicas wel l as by his exploralion of a wide range of amorous attitudes.

.~ 667. . "Donne's "111e Stcrmc': TIle Poem and the TradihulELR 4: 137-63.Mainta ins that "T he Stormc" is "a sustained variation upon a standiflrhetorical theme, an adaptation far more extensive. in fad , than l' \'{'11most thorough critic to date suspects" (p. 137). Traces the rhetoricalditicn that informs the poem and juxtaposes it with classical and RCIUsauce examples of storm acco unts to show "the rigorous classicismDonne's poem" that can be observed not only in its theme but also tvirtually every significant aspect of structure and descriptive delair'138). Argues that Ovid is the primary model hut comments 0 11 how Dumalso modified the tradition he borrowed . Notes especially his t al1~personification ill the poe m, which gives It "a grand movement of tproportions" [p. 15 1), and which, in effect, creates "a C hristian adaputof the type of cosmic, apocalyptic struggle in which Virgil. for exampplaced Aeneas at the beginning of his epic" (p. 1,2). Suggests that in IIpoem D 0 11l1l' explores himself as well as celebrates the expedition: "Ioccasion of the storm becomes another opportunity for Donne tocoutcplate his death, to indulge in another immersion into tile void, tu IIIshall his experience in terms of tbc clashing tensions of Chaos and Clion- all fundamental patterns in his poetry" ami argues that "these Iitruly control till' poem, create its unique tone, and most easily ~l·f\differentiate it from its ancestors" (p. 152). Points out that the hihlallusions to lunas and Sarah "clarify the psychological center of the pot!"create a fasc inating modif ication of the storm tradition and perform L1.1lplex functions" (p. 159 )' Concludes that the poem "magnificentlyonstrates the pressure Donne's predilection for self-def inition placed IIa formu laic genre and superbly displays his subtlety at ccordinatme Itwo dimensions of form" and that his "craftsmanship brilliantly wm{dinarily discrete descriptive details into a gorgeo us unified tapestry IIunexpected entry into ;] nightmare realm of chaos with an equally 111'pectcd divine resolution" (p. 16 3).'-

with prescribed attitudes" (p, 28). Suggests that "the restle s play\iahl in these sonnets makes them unique as devotional poems" (p.md points out that "in form Don ne's sonnets follow Sidney: boththe conflict of reason an d emotion, affirmation and doubt, through,lit of octave and .c tc t, often with a paradoxical conclusion hamhomeby the couplet" (p. 30). Fifteen selections from the 110/)'1 I. (pp, I 0- 3 ) with n itcs (pp. 179-83).169. LI NDEN, STANT ON J. "The Breaking of the lembic: Patterns in\1 hcrnical Imagery in l~ n gl i s h Renaissance Poetry." WuscunaH 9:0;- 13·I IT, . I two literary uses of alchemy during the Renaissance. PointsI I. from Chaucer OI1\\~J .rd to Donne and Jon 'on, alchemy wa prewitha atirical intent and became synonymous with greed, deceit,lusion, and all kinds of moral depravity. However, before this salirtrnditior:died out, there also developed (between 1580 and 16"0) apnttcrn of alchemical usage, one in which alchemy was used meta­I nih to .uggest growth, change, and even regeneration. Maintain sI poetry of Donne and Herbert give u the be t examples of theI al hemy wa utilized during the transitional period, since theyI usc alchemy with an awareness and understanding of its full rangenotations, connotation s, and associational nuances " (p. 109). Comtbricflv but specifica lly on the range of I onnes uses of alchemyhile commenting on The firs t Anniversary, notes that "not since:essment of philo ophical or spiritual alchemy occurring ncar theThe Canoll Yeomall 's Tale .. . has the art been treated with . uchI nnd nobility" (p, I I I ) ..70. LODJ, ivl. K. "Don ne's Epitha larnic verse." in Esso)'s 011 fohllJ)m/ll c: A Quater Ce ntenary Tribute, edited by Asloob Ahmad Ann.pp, 86-99. Aligarh: Department of English, Aligarh Muslimnivcr ity.II Or outlines the history, develop ment, and major conve ntion of thelarnion and argues that Donne, though indebted to the tradition1 xially to Spenser, made his own original contributions to the genre,ia ll)' through his uses of intellectual conceits, extravagant paradoxes,I,ulire. Outlines the them e and content of each of Donn e's three epiminand argues that in thc "Epithalamion made at Lincolncs lnn e"It I "too close to effronte r " and the tone: lacks "the usual cavalierI Itt. of Donne " (p. 96) and thus the poem can best be understood asmeant to entertain the young wits at the midsummer revels atlns Inn in 1 ; 95.~\' I FA RLAND, RONALD E. 'Thanksgiving in Seventeenth Cen­Poetry." A/bio11 ('Washington State Univcr rity Press) 6: 294- 306.

Surveys the background and tradition of Christian poems of thanksgling and comments on rep resentative examples written during the sevetccnth century in England. Suggests that La Coronel should he includin a list of major thanksgiving poems but chooses to discuss only lhfpoems in detail that suggest the range and variety of the poelll of thankgiving-c-Marvclls "Bermudas," Herrick's "1\ Thanksgiving to God." ~11 1Herbert's "The Thanksgiving."'4~ 67'2. ~k C ullm. PHILIP C. "Private Prayer and English Poetry in tHEarly Seventeenth Century' SEL 14: 63- 77.Discusses the influence of private prayer. as opposed to formal discusivc meditatio n. on poetic practice in the early seventeenth rl'llluryreflected in six poems by Donne, Jonson, and Herbert. Outlines \'ariflcontemporaries' attitudes toward, and definitions of. prayer and points Oilthat Renaissance dcvotioualists "divided private prayer into a preface (whlcbcould also be a conclusion) and three major components-cconfcssicinvocation. and thanksgiving- which were organized either to praiseCor, more frequently, to persuade him" (p. 6;1. Analyzes Dcuncs "0111hast made me" to show that it fits aJl the rules for a prayer of petitionsuch as found in Elrathan Parr's i\ bba Father; notes that "Hynmc toC.my Cod, in Illy sickncssc" follows exactly the usual instructions for pIa)on one's death bed found in the devotional manuals and the treatisesan moriendi; that ",\ Hynmc to Cod the Father" follows the rules fordeathbed confession, as outlined, for instance, in John Clarke's I lu(y rcense for the Ceueere o{ the Saints; and that "A Hymne to Christ, at tlAuthors last going into Cermany" is directly linked to prescribed Renalsauce prayers before making a journey. such as one discovers in HierertA IlelfK unto Devcrfon. Conclu des that the art of private pra}'l'{ "funtioncd as a set of extra-literary 'conventions,' providing subjects, attitud .ami formal principles which poets could join to appropriate poetic fornand conventions" (p. 77).'4~ 673. l\. lcKIlTERI CK, D.·WID, AND R. S. THOMSON. "A Denne Disccry." TLS. '30 August. p. 9'30.Corrects and modifies several points in their previously publishcd:.uticle (entry 7 10 ). (I) Notes that in the light of orthographic: and palgraphic evidence the papers in the Huntingdon Records Office can onlhe most tentatively ascribed to Donne and states that "there must be scmdoubt as to whether these arc by Donne himself or by a copyist withremarkably similar hand." ( ~) Suggests that. apart from the draft versionthe Coodfriday poem, the "literary quality of the papers sugges ts OJ baiother than Don ne's" and that, although in the same hand as the poe

4. MAlmTTI, ARTHUR F. "Donn e and 'The Extasie," in The Hhettvicof Renaissance Poetry: From W }'Cltl to JV/ilton, edited by Thomaso Sloan and Raymond B. Waddington, pp. 140- 73. Berkeley, Losvngelcs, London: University of California Press.r detailed reading of "The Extasic." ices the poem primarily a anse of conjugal love, "wri tten originally, perhaps, as an exercise inn imitation. but, nevertheless, rooted ill Donne's deepest personali I1 'CSand de igned for a coterie audience fa miliar with both his lifhi art" (p, 143). Calls the poem Donne's "most complexly argued"Ip. 144) and discusses the narrative, dramatic, and rhetorical devices. heemploys to manipulate the reader's response. Views the first sevenIza. as an "attention-getting device, the effect of which is to draw ulhe poem's world while, at the same time, making us self-consciousII our aesthetic act" (p. 147) and sec the la t twelve stanzas as "yetre-subtlcslight. of hand" which. after a fal e start, return the reader,m sterful indirections, to the erotic ituation with which the pocm,11" p. 148). I otes that Donne "turn his sceptical intelligence 01 1 the11 ophical nd literary conventions he inherits" and that "no num berj tions of Plolinus or ! eoplatonic love-philosophers can obscure theie fuel thu! he could not take seriously the idea of amorous ecstasy as\' ' supreme expression" (p. 155). Suggests, therefore, that the poemtlallv "mocks its reader's suspension of disbelief, his too-easy accept­, .IS a civilized man of the Renaissance, of love conventions and theirilosophical and pseudo-philosophical vocabularies"(1'. 155 ). Holds thatp em i not imply a speculative poem about thc relation of the bodI III but also publicizes Donne' own marriage and that he "projectJl hi personal ex..periences and conflicts in such a way that he in­" lhe audience in the poem's emotional dynamics" (p. 158). Con­. that thc poem offcrs the reader "a vision of incarnate, conjugal lovein it rich fram c of reference that extends from the bloodstream to [the

heavenly spheres. from atoms to their Creator, from Plato to the Sl'\t'teenth century. a 10\'(.' that can be treated comically as well as seriuubecause it is both profoundly human and wittily self-aware" (p. 1731.~ 67; . M ESSENGER, ANN P. "'Adam Pos'd': Metaphysical and i\ Ugltan Satire." \VCR 8. no. 4: 10 -11 .Discusses Anne Finch. Countess of Winchllseas. "Adam Pos'd," Jwriting of part of Donne's Satyre IV. Argues that she "took considcraliberties with her model and produced a brief, almost epigrammatic \gustan satire with moral implications, for all its brevity, nearly as \Hdranging as Douucs" (p. 10 ).~ 676. ~\'hLLE R , C LARENCE H . , AND CARYL K. BERREY. "The Structuof Integrity: TIle Cardinal Virtues in Donne's 'Satyrc 11 1.' " Cfl.\I~u.s. 1: 27-+;.Argues that the major reason for the clarity and integrityof Satyre /11that it is carefully structured according to the framework of the c,lIdi ,virtues (fortitude, temperance, prudence, and justice), "one of the 1IIpersistent patterns in Western ethical thought" (p. 28). Comments 011 hi!the basic underlying philosophical concept is based Oil Plato's di\1~i(IUman's ethical faculties into concupiscible, irascible, and rational 110\1of the soul. a concept later developed and elaborated a ll by Chriltrmedieva l and Renaissance philosophers and writers in their discussionthe four cardinal virtues. Notes that from the time of St. Augustine CII1tians focused their attention on "the relationship between vi rtue conceinaturally according to pagan philosophy and supernatural virtue ~pllIIglfrom grace infused by Cod through Christ" (p. 34), the issue that Do Iexplores in lines 1- 1 5 of Satrve Ill. Suggests that after this intrcducticill which Donne states that "neither compassion nor derision seems dj;tive ill instilling religious values." he notes that "it is shamefulth at pagshould outstrip Christians in attaining religious goals" (p. 37), Sees Iremainder of the satire as dividing into four majorparts: (1)lines 10-,::.a depiction of irreligious and irrational "courage" exhibited by

utions Donne throughout this study of the "public mode" of seven­-ccntury poetry from 'Iilion to Dryden. contrasting it with the "primode"ofDonnc and thc ".ocial nu de" of Jonson. Defines the public•nd notes that it "tend to uspcct what is valuable only apart from11 r and to prize what men and women share" (p. xvii ), Part I prenextended definition of the "public mode"; Part 11 di cu c thepmen in narrative poetry from 1640 011\\, rd: and Part III deallu (honor. prai c. virtue). with a haptcr each devoted to libcrell)and satire. ails Donne "radically private" and Dryden "radipublic"(p. 6 with Jonson occupying a middle ground. Notes that11 "wrote of the world to reject it" (p. 45) and observes that to Donner alityof consciousness and private p ychological need i 0 great thatm erse contracts itself to his chamber and the world's la t night to ar 111 his heart" (p, 7). Briefly comments on Donne's poetic u e ofmyand discusses in some detail his attempts to alter radically poeticuagc and prosody and yet sees some likenesses and differences innne's attempt to reproduce the rhythm of natu ral speech and Dryden'siments along the same line. Point out that Donne, like Rochester,le. Dug and satire; that certain lines in Oldham's Satyr Upon theremind one of "Love Alchyrnic": that Marvell's Fleckno. an Enp"t at Rome is in the manner of 1 onne but lacks hi dramatic, and that Dryden's Eleonora i modeled on the Anniversaries,- . Mo: r ES DE ) \ , M RCO A NT NIO. ed. EI surco )' la brasa:raductores mexicanos. Selection and prologue by ~ larco nlon iolonte de Oca. (Lctra mexicana .) Mexico City: Fonda de Cultura, onornica. 446p.lain pani h tran lations of Donne' poetry and pro c: ( I) two senfrom the sermon by Octavia G. Barreda (pp. ;0-;I ): (2 ) "A) c fa Cod the Father" by Jorge Cuesta (p. 69); (3) "Going to Bed" by\'IU Paz (pp, 116 - 17 ); (4 ) "T he llllllC Rising" by Jaime Ca rcia 'Icrres::!.:q - :q): and (-) "TI le Flea" bv crardo Deniz pp. 344-4;).- 9 . i\IORILLO. j" IAIWIN. "Donne's 'Th Relique' as Satire." TSE 21:-rr-;; ·i.cusses "The Relique" as "an altogether consistent and witty piece of, 'Platonic' satire" (p, .+7) and argues lhut such a reading brings "appartonuldi crepancics into harmony" (p. 54) and also brings the poemthai distinguished fa mily of Donne's I -rics that justify and celebrateI ction of hu man love. pocm. that reconcile body to spirit and, exual union" (p. - s). omrnents on each of the stanza to. howb talernent and implication Donn ' rciecu the kind of neuter love11 I bv the Petrarchan . ounetcers through the uses of erotic images,1 Ism irony. and h pcrbolic compliment . Calls the poem a mock eniumthat obliquely insists "that 'de ire without fruition' does not betheworld of nature" and that "a e ual love mi can trued through

the blindness of rnisdevotion" is a "love that belongs to a supernarealm and requires a Ch rist a lover" (p. 54). Sugge. ~ further th t he:stanza may be. in fact, an oblique celebration of exual love a trulraculou. and that "the culminating irony is that the love celcbralquite other than what those misled by devotion think it is" (p. ; -).~ ~ 6 0. tih.um. WOLFC, 'C G. "Anrede und elb tge prach III JDonne . ongs and ~ onnets.'" GRlvl n.s. 24: 305-2".rgues that the description of lyric poetry as expressing emotionsonglike. ubjcctivc monologue does not apply to Donne' Song~ alldnets. Show that the lyrical speech in Donne's poetry differs froclassifica tion either because poetic address is used to present sci -scn 1in a dramatic fonn, or because subjective monologue serves as a III IIof analytical self-defi nition rather than as a medium of giving \'01emotion. Demonstrates with "Wamans constancy" that poetic addfi lls the subjective functions of lyric monologue and is not one-halfdialogue thut expects an answer. Classifies fi ve basic types of monultheater monologue in front of an audience. monologue for all audion itagc (political speech. persuasion), soliloquy. monologue \ IliIIi tcncr (love poem. ode), and monologue in which the poel plu)'~ ,a a drarnatis persona (Donne's "Breake of day"). Discusses the (radii)poetic address in English lyric poetry and demonstrate that the dform of poetic. ddres in Donne (such as in "The ;\..piration") It"authentische, unvcrwechselbarc Ichqualitat" (1'. 31 ). Comparepoems of poetic address with his pocm. of monologue (such as ,,(growth"). in which the affcctcd lover tax his own feeling. Lo. tep from a semper idem exprcs ing emotion to a changeable el cit elf a the transition from Renaissance to baroque. Defines th Iself as "die Delegation des authentischen Personalcn in die . prachtigkcit" (p. 322). and applies this definition to Keats, Gerard i\1 i11l1kin. I ylan Thoma '. the French ymbolists, R. I. Rilke, ;1I1dBcnn,~~ 6 I. NEWT N. RI CHARD C. "Donne the Satirist " TSLL 16: _p ~Argue that the Satyres reveal "an intense critical intere I all Dopart in his own character as satirist" and that "the sequence of M\(;presents the unfolding drama of Donne's exploration of the satiric cIactcr, together with the record of his own discoveries" (p. 429 ' I i IIeach of the satires and how' how. in aiyte V, the two major thall five afire paradoxically come together:"On the one hand w h.l\character of the satirist-anarchic, de lructive, iconoclastic-a ellawhich is to the poet a burden like original sin yet which is :11 tiltime a nece:S:lT)' condition of life," while "on the other hand \ t.: hanccesary search for 'con tunc)" and e urity, the earch for a Iunaffl icted vision of truth" (p, 440). Note that "the truth discov , Ithe atiric characte r. however. is a truth only of uncertainty" and th

e l thi truth in order to free our elves of blindncs and angui: hedin . we till canno t find in il thc ccurity and clarity which it eernsr mi e' (pp, -t-j.O- 4 1). Point out that "in . atyre I can .tancy i a joke;r •II it di appear arnbiguou I '; in atyrc III it how it elf nece aryu h after and at the arne lime necc arily unattainable"; and then'r

note that eventeenth -ccntury writer of body-soul dialogue "can Iadapting themselves 10 the demands and influence. of the new age,64). Discusses briefl y Donne's view of body-soul relation.hip in lu:mons. Reviews the complexities of seventeenth-century thinking authe roles and responsibilities of the body and soul in . in and note thawhile seventeenth-century writers "can think of body and soul as abstrphilosophical concepts, it is not primarily in abstract terrm that theywdabout them" but as "characters playing their roles in the drama of life IIdeath" (I'. 377). Commen ts on Donne's personification of the soul apoint out that, althoug h he and his conternporaric "did not con cibelieve the soul to be \ i ible, they ju t as certainly did imagine it to be(I'. 3 9) in their poems. Caution, that, although poetic imagescannliterally taken as statements of belief. they do ubtly help to fonn ertaitheological attitudes and influence tile general under.landing of certtheological concept .~{) 685. Orrax, CJ IARLOT I'E Ii'. "Donne's 'The Extasic,' 6," Exp/ 32: It58.Agree with Clae chuar (entry 493) that Ba/me (line 16) in "Thtaoie" refers to a plant bul di agree with Schaar's notion that the pimply entangles the lover . hand and holds them firmly tied. , ussthai "the clue to Donne' allu:ive use of the plant baltneand to the ming of fast lies in the Renai sauce herbals." Di cusse the d ' criptionbalme in several popular herbal manuals. especially John Cc ra rd' IHerbal! or Cenerall Histarie of P/a11tes (1597, enlarged and amended IThomas Johnson in 16 33, 1( 36), to show that, "since the juice of tijleaves of the balm e plant rubbed on the hives attracts and nourishes becausing them to stick together, fast in Donne's poem de cribes the proert of the ba/me which cements the lovers' hand together ina noun hiand sustaining union." I ot further that entergraft (line 9) "reinf rthi image. since grafting require an adhesive sub.tance to maketheand the tree stick to each other, a the Renaissance agricultural manhow." Concludes. therefore, that Donne "use the leaves of balmefragrant glue rubbed on lover ' hand, to form an indivi ible graft; thatnil the cement required to graft the image to a poem which i. a 'dialoof one.' '' For a reply, sec Susan C. Kemper (entry 837)'~~ 686. OUSBY, HI =:t\ TII ER D. "Donne and Gilpin: Another ConjecturI &Q n.s , :2 1: 9-90.ugge ts that perhaps two passages about painting in "Of igrina. ­and "Of the Same. 6:2" in '.verard Cuilpin' Skia/etlleia (London, 1­may have been sugge ted by Donne's epigram "Phrync," in which he 3V"T hy flattering picture, Phryne. i like thee, / Onely in this. that 'ou hpainted be." Cautions that n definite chronological relation 'hip betwethe epigrams of Gu ilpin and that of Donne cannot be made since Donn

his epigram any time between the early 15QOS andf ---- , "I onncs 'E pithalamion i\ lade al Lineolnes lnnc,' 90:'Etp{ ~: : Item 49,rccs with John ~ hawcross in The Complete Poet'I' or John DonneIth,lt in line 90 or "Epithalamion made at Lincolnes lnne" the wordlIelf may be a pun, meaning "to hide in thc inward par :. but,I second possible pun on the word embowell, meaning "off-spring,"Ih.l t. ince Renaissance epithalamia traditionnlly refer to the birthIildll'll and since Donne specificall ' refers to motherhood in line 87,mav mean "that the bridegroom will engender an heir.". P TRICK. J, i\IAX. "A Donne Di covcry." C r 32: 7"2-73,II attention to and umrnarizcs an article bv R, . Th omson and,!lId iVl eKilterick (entry 710). Calls the documents discovered by Thorn­1 d McKitte rick "signifi cant Donnc discoveric " but warns that in this. Illst as in the case of the so-called Robert Herrick Commonplace"on must be cauliou about ac cpting attribution of the handwritthec 17th-century , uthors and about crediting them unhesitatingly1111 responsibility for these materials, if only because. in both in­~, orne radical changes in standard conceptions of the e authorsII be necessitated" (p. 73 ). Sec also David tvlcKi ttcrick and R, S,11011 (entry 673), Michael Horsnell (entry 6;4), Nicolas Barker {enzo).Theodore H

own poetic contri bution. Li t and compares notation s from the C IBible with those of G rierson and ardncr to show that, "although ilnu mber of place Donne' poem i closer to the Vulgate than to themellius text. in each of the e cases either the Geneva text or the Llrizcd Version can 'explain' the deviation from Tremelliu just a' w IIand often better than. the \ ulgate can" (pp. 513-q).~ ; 690. . "A I otc on Donne' 'Elcgie on the L. c.... I21 : 9 2- 9 3.Rejects Joh n hawcrosss uggestion in The omplete Poetr), of 'Donne (19 7) that in " , legie on the L. c." (lines 9- 13) Donne allu Ithe popu lar fable about an oak tree and a briar that is found in Aesopexemplified by ~ penser in the February eclogue of The Shepeardeseiuler. Argues that, "since Donn e's poem deals with the fact that aand holy man has died and left his family and friends to honour hi I Iory, the moralistic theme of Spenser and Aesop could not possiblrelevant" (p. (2). Suggests that Donne had in mind the common mphor, fou nd in Latin and English love poetry (Horace, Catullus, Sitspeare), of compa ring husbands and wives to a tree and vine, ArgueDonne perhaps transformed the popular metaphor of marriage intoligious one "to indicate the spiritual love. a well as dependence. \ hcharacterized the gentleman' relationship with those about him wh illived" (p. (3).~ 691. PORTER, PETER. "Thomas Ca mpion (1567- 1620), • ir WIRaleigh (?1552- 1618), Fulkc Creville (1- 54- 16 2 l. John(1572- 1631),.. in The Enslish Poets {rom Chaucer to Edward Th Incompi led by Peter Porter and Anthon y T hwaite, pp. 9 --10­don : Seeker and Warburg.Briefly comments on Donne's life, personality, and poetry (pp. 10calling him , "except for Shakespeare, the greatc t poet of tI ll: age."points out that his poetry "changed the entire course of Engli.h po I(p. I 0 2). Comments briefly on certain major features of Donne'such as its blend of intellectual power and passionate feeling, its unicleverness with sincerit y. its u es of rhetoric and hyperbole. and iceits. Suggests that as both a secular and a sacred poet Donne prim: Icasts himself in the role of a wooer. Comm ent brieflv on "The Hespecially it. reflection of the intensity of Donne's regard' for physical lon "111C Perfume." especially its dramatic effects; and all "Since she witI lov'd," cspcciall: its quiet tone and euphoniou language. ugge"E ngland was not unaffected by the Counter-Reformation ami DOlibaroque poem arc full of the hy tcria which accompanied the T Ufaith on the Co ntinen t" (p. 1° 7).~ 6

Bibliograph )' orCriticism10 0 - 1 16. Aligarh: Department of English, Aligarh Muslim University.urvey the themes, content:. and major stylistic features of Donne's·ut 'res. Finds Saiyre I marc realistic and dramatic than other Elizubensatire. see Satyre II 3 S least individualistic, praises Satyte III for itsof the extended conceit and for its focus, finds Satyre IV the lea ttercsling and without plan and domina nt mood, and rejects Saiyre V a.I least brilliant and the most self-consciously witty. Suggests that, alllOUghthe satires me often "marked by an unu sual energy and a richnesscontemporary references," they "do not escape the weaknesses of thencra ] run of Elizabethan salires" (p. 107 ). such as metrical roughne ·S.llna up of details. and lack of focus. Comment on the satiric impulseD nile that finds better expression in some of the Songs and Souetsr note that several of Donn e's major satirical targets. such as orrupturtiers and court life, greed, inconstancy. corrupt lawyers, and so onI Ithcir wa y into his love poetry and that to these favorite targets he acids1 h abu 'CS as Petrarchan adoration and other extravaga nt, sentimentalrm of love. uggests that Donn e's use of a atirical. comical. and iron­I nne in hi love poetry often makes it difficult for his readers to deter­1I\e: the: mood and tone of individual poems.\ 691' RICK., CJ-m IsToPHER; "Em pson's Poetry," in William Emf)son:The Mall and His Worl" edited by Rorna C ill, pp. 14';- 207. Londonand Boston: Routledge & Kegan Paul.D ISCUS es how Empson's poetry was influenced by his critical apprecia­11 and understanding of Donne' poetry ami comments on Emp on'stici m of Donne and how it reflect his own personal concerns. otest "for •mpson, and for his poems, Donne's love-poems embody afiance of church and state" and "celebrate freedom and independence'167) and "arc alive with thought and feeling about begetting and posandabout the relation between a true worldliness and a true unridlmcs" {p. 171). Call Donn e "the pact who mean most to Emp­1 poem" p. q 7) and observes that Empsons metaphors, like Donncs,110t reduced to blank obedience but are allowed to ask for them iclvcsI1Ch CT presence" (p. 186). Comments especially on Empson's views onnne in his essay, "Donne 111

ences "as though he were joining two equally valid worlds, the factua l allthe emotional, to create the poetic artefact" and argue that the poe"constitute ' rather a transmutation of the actual, as its spiritual 115mcance i perceived" (p. 13). Stresses the interrelatedness of Donne' iecuand religious poetry and argues against "any attempt to separate humaexperience into neatly divided categories" (p. 12). Suggests that the kt:ythe underlying unity of the earlier and later poems is wit. Presents a rcaing of "T he Sunne Ri ing" to show that even in his lighthearted amorver e Donne's levitv and wit have a serious undercurrent and thai In 11playfulness he is fully cornmited to the world of the spirit. Chapter"The Mannerist Perspective" (pp, 21-70), surveys and defends the nalnand function of man nerist art, distinguishing it from both Renais al)and baroque art. scs mann eri t religious art to explain Donne andgcsts that "the C0l11 1110n denominator of religious mannerism i thematerialization of the physical universe and the tormented strivingwards a more satisfying spiritual reality beyond the empirically vcrifiahlworld" (p. 69). Find. parallels in perspective and technique between Dompoetry and the art of such mann erist as EI C rcco and Tintorelto, Chap3, .. hirnrncring Logic" (pp. 7 1-107), argues that Donne i much IlogicnI than 1110st critics think and suggests that the complex rnovemof a Dorine poem "is constructed with extraordinary subtlety specific1in order to create a spring-board for the leap into the mysterious or tratscendcntal' (p. s). Sec a connecti on between Donne 's u e of PSCIIlogic and mannerist illusion and iuggests that his variou will~ ulogic simply underscore his fa ith in a world that is beyond the lirniphysical and rational world of man. Argues that Donne's "poetic wil, \ Iits grotesque [uxtaposition and deceptive reasoning, offe red a perfecl mdium for expressi ng that mistrust of the objective" (p, 107) Ih:11 penCounter-Renais mncc thinking. I oresalso that "the disconcerting clemin Donne's writing is his unique capacity for embracing both mannextremes-the tensing and the solcmn- often within the same poem"90). Observes that Donne's love poems and his religious poems sharpenchant for erecting a facade of superficial wit or fortuitous WOldthrough which some more lasting truth is gradually perceived" (I'. 9­finds parallels between this technique and those of the rnanncri Is. Itcr 4, "T he Wit of Illusion" (pp. 108- 49), presents a reading of'TllcrIto show that Donn e typically "loves to COJX us into a novel, \lIlCOIl 'tiona] viewpoint by means of a speaker who C adroit inversion of elland intellectual vitality is hard to re ist; but once coaxed into lila 'Ipoint. we discover to our amused chagrin that we have been duped,the speaker has already swung off in a new direction, leaving us bcnclon a dialectical sandbank" (p. 108). Analyzes "Loves growth" and " ,Sweetest love, I do not goc" Lo show that Donne's subtle hin in Iuse of deceptive rea Oiling, sliding metaphor, and illusory wi: ;Jtinctively his and yet reflect the illusory perspective of rnan nensl arlgues that Donne is not a Neoplatonist, even in "The Extasi .:. ~lI l l

urld i "loa pervcr c, as well as too ascinating in its contradiction,h s.• lid .orrow to be neatly filled into an. idealized, harmoniouI c" (p, l.p . Discusses in detail '"I he rcarnc" to show that, alhthe poem is light an d fanciful. it mbodics, as do most of thes III the Songs and Sonets, a crious viewpoint. Chapter -, "Thelox of Faith" (pp. I ; O - ~ ~ 20 ) . discusses I anne's religious poetry, c ­J II\' the 11( 1)' Sonnet • "C oodfriday, 161 3. Riding Wcstward," and theI ,and arguc that there i an "inner ontinuity which, bel -ing urdifference,unites the secular with the devotional poetry" (p, I;I ).intmns that in the religious poems I OIll IC did not repudiate his earlier'Ir\\ "but allowed tho e tlheme ubmcrged in his ecular verse to riseurface and gain a new promin ence in their religious setting" p.I i cu e his uses of secular and sexual imagery in hi religiousI and comment on how his "natural penchant for thc perverse,lex. mel the contradictory afforded him a rare protection against thatI 111 which has spoilt so mu ch religious verse" (p, 1 ; 4). Finds parallelsII' 11 Donne's disruption of traditional norms and similar tendenciesI art of Caravaggio, Tintoretto, Rosso, and Zurburan. Compare thetualizcd erotici m of Bern ini's Ec las ' of St. 1c!f(tSa and Donne' senseOIl\' between divine and human love. I nie that Donn e i a "sacredI t" but ee, him rather as belonging 10 the Counter-ReformationIIlUll "with it encouragem ent to cultivate the bodily sen e. imagina­\, as a means of glimpsing the celestial" (p, I 2). Discusses Donne'sOil death, time, space, and eternity to show how they reflect hisncrist perspc tive. ornments on his interest in science and notes thathi yrnpathctic response 10 scientific thought and experimentation.mlrigucd primarily not by the clear rul and indisputable proofsII u h inve ligation provides. but b. the inner contradictions it disamipoint out that "he seizes upon .uch anomalies in order to, h IS own belief that, in the final analysis, the an wers to man' pressroblcmarc not to be found in the neatly organized world of empir­I oning" (I'. 209)·' . RUFFO-FIORE. ILVI . "/to. ew Light on the Suns and Lovers inPetrarch and Donn e." FJ 8: 546-;6.{ pri nted as Chapter; in Donne's Petrarchism: A Comparative View86,J, pp, 70 -79.rgues that in "T he Sunne Rising" I onnc "presents a dramatic reconlionof the sterile \ orld of Petrarchan adoration with the fruitful worldiprocatcd love" and adiu ts "the remote and passive Pctrarchan vi­100,c to the nece ities of actual cxi tencc' p. )46). otcs that theI mailer of the poem is neither ori inal nor revolutionary but thatI I innovative is the unusual way that I anne combines PetrarchanIi ints, extending and refining them to produce a poem offering anht into hi mature vision of love as OJ feasible reconciliation of timetcrnity" (p. ;46). Argues that "the ituation it dramatizes, the solu-

tion it offe rs. and the language by which both

I 101 a reconsideraliou of his relationship with poetry and uggcst thatI possible to perceive certain historically significant analogies betweenh( , 111l' lranico-materiulism and some late metaphysical poetry" (p.ugge ts that the notion of a ichool of Donne is too simplistic and"till: onventional placing of the poetry of Bcnlowcs, Cleveland . Ran-I h, .lIId Cowley as a decad ent form of Donne's poetry nccd. to hensidered. not ncces • rily with a view to distu rbing cstabli h .d valua­I Iii c poet (though this may occur). nul rather to . ubstituting are positive and parti ular description for the conventionally attributedadcncc" (p. zoo). Notes that in Donn e's poetry sclioln tic tenu s "still~ 's. the ambiance of their original 'meanin gs.' whereas in levcland,ambianc e ha been scoured of its deposits: cholasticism ha: become- holastici rn" (p. ~ C

pay this tribute: in the concept of the hidden C od, the en,e of aweal f:Jand destiny which ant iquity once felt and used was brought back intoexperience of Western man and placed at the service of poetry"(p. 19~~ 700. HAWCROSS. JOHI T. "T he Poet a Orator: One Phase 0Judi ial Pose," in The Rhetoric of Renaissance Poetry: From \V .to tilton, edited by Thomas O. Sloan and Raymond B. WaJdinton. pp. 5-36. Berkeley, Los Angeles, London: Univer it)' f 1Iornia Pres .Discusses the use of the forensic mode through the rhetorical tcchniqiof distributio-recapitulaiic ("the citing of a series of specific facts or armeuts followed by a summing up or restating of these same facts or Imerits in brief form " [po 7]) in various Renaissance poems, includitDonn e's "T he Message" and "The Prohibition ." Suggests that su II a 51111will demonstrate "(1) that this techn ique, employed in various poemthe period. offers another approach to rhetorical analysis of literature, (that the forensic mode is employable in 'creative' Iitcraturc, (,) that IIpoems employing this technique must be read differently from the \they usually arc, and (4) that recognition of this mode of persunsior IIpoetry of the English Renaissance reinforces the view of the poet a maknot pact as philosopher or poet as emotionalist" and that "thi awa rcnin turn goes a long war in separating the lyric from the epic. from Imarie poetry. and from didactic poetry .. . and . . . from other kinIpoems which are often categorized under the catch-all word 'lyric'"6- 7). Points out that. in his usc of the forensic mode in "T he 'Ic.\ :\Donn e become . a it were, "the prosecuting attorney in iambic" (pand gives the reader a portrait of a poor loser who asks not for a juclgnfrom hi mi tress but rather for the reader to judge the worthiuesi 0plaint. Points out that. although Donne mixes the deliberativeand ~sic modes in "The Prohibition: ' "his stance is that of the forensi 0who hopes to achieve his ends by justifying the action he recomrn I(p. 25). Notes. however, that neither poem can be easily categori:Conclud es, from a study of the forensic mode, that a lyric can be d fias "a shorter poem in which the author intends to produce a uccliterary creation by specific, chosen techniques, devices, form. langu:and the like, in a competitive spirit (ultimately) for evaluation by his rcrs"-a definition that "assumes the poet's function as rhetor ami his rcugnition of that function" (p. 35). Suggests that arguments about [)CII1sincerity in such poems ;1S "T he good-morrow" or "The Extasic" ,1"meaningless and beside the point when 'lyric' is viewed in this IV;!y" (p,~ 70 I. IIIBLES. \VARRE, . "John Donne," in Death: An In/erdiscrp/rrrv AIlCl/)Jsis, pp. 65-68. Whitewater, Wis.: TIle LanguagerCommen ts on I onnc: views on death, immorta lity. and rcsur cand briefly notes the pervasive use of images. conceits, and rnetaphodeath in his poetry, tates that Donne "was preoccupied with the 'len

of physical death and even jellied putrefaction" (p, 366). that heII)"c and death in his poetry, and that he oftcn picture himself asd. I 'Iaintains that he did not believe in the imm ortality of the oul norsurrection: "His final view was one of doubt" (p. 368).LOA, , THOMAS . 'The Cros ing of Rhetoric and Poetry intile English Renaissance," in The Rhetoric of Renaissance Poetry:Fmm Wyatt to 1\r1i1ton, edited by Thomas O. loan and RaymondB. ""addington. pp. 2 12-.p . Berkeley La Angeles, London: Universityof California Press.I u. es thc importance of rhetoric in Renaissance poetry, especiallyveutio, and its radical transformation in English rhetorical theory benWyatt and Ivlilton-"wltcn the Ramists revi cd rhetorical thcorv inIt w ~ y that they made the orator' creative process totall ' unlike' theI' ,. and "when rhetorical theory converged with devotional theory and( 'C more established comm on ground, for a while at least, between orandpoets" (p. Z14). Sec Donne as at odds with the "new rhetoric."rnrncnts on "'10 E. of D. with Six Holy Sonnet " (pp. 2Z"'- 25) andr s that Donne analyzes the creative process, which. to him, is neitherp.rsonal nor systematic. Argues that in Donne's poems invention andd rucnt are not creative art but are only the pas ive, "feminine" elcthatneed the "hot Ma culine Flame" of wit to transform them intopo 'try.- 0 3. LOA• . T HOMAS 0 . , AND R AYMOND B. W ,\ DDl NGTO • eds. TheI hetoric of Renaissance Poetry: From W yatt to Milton. Berkeley.o Angeles, London: LJ niversily of Ca lifornia Pres ..ollection of ten original essays by various hands that considers thecl of rhetoric on English Renaissance poetry. Althou gh Donn e itinned in evcral of the C' ays, sec primarily the following. each of1 h has been eparately entere d in this bibliography: (I) John 1: haws,"The Poet as Orator: Jnc Phase of His Judicial Pose" (pp. 5-36);Ra"lTIond B. Waddington , "Shakespeare's Sonnet I 5 and the Art ofrnorv" (pp, 96- 12Z); (3) Arthur F. Marotti, "Donne and 'The ' xtasie'"140- 73): and (4) T homas O. Sloan, "T he em.ing of Rhetoric andtry ill the English Renaissan ce" (pp. 2 1Z- 4Z).: - 0 + SLOA E, tvlARY COLE. "Emblem and [ leditation: Some Paral­I I in John I anne's Imagery" SAB 39. ii: 74-79.lints out that emblem and meditation "meet a. interior drama" innne's poetry and that this meeting "helps to accoun t for the peculiarU0 sensuo ity one finds in Donn e's imagery" (p. 4). ales, for in­I, that in the opening lines of "1\ Valediction: of weeping" "the syrnlie either acting or being acted upon" and "it is, therefore. not merelyfigures in the poem bul the objectifi ed ideas themselves that are doingcling" (p. 75). Finds Q uarles's emblem e pecially useful ?a an aid

to the und erstanding of the emblem's relationship to the 'HolySonnets' ~meditations" and suggests that "at least part of the importa nce of thpictures [of Amor and An ima] lies in the fact that they arc visualmanflations of the tendency to transfer the iconography of profane love to IIprovince of divine love" (pp. 75-76). Shows that. just as the crone ilagcry and dramatic clements that can be found in the religious crublenwere attem pts to involve the reader emotionally through his senses. ~u 0meditation was an attempt to involve the med itator dramatically in J \1idly realized religiou s scene. Illustrates this concept by examining a numbcr of passages from the Holy Sonn ets and concludes that. when Vi CIIill combination. the emblem and meditation "provide both iCUlwgr,l11hfcal tradition and situational milieu consistent with Donne's 'mctaphyslcslconcei ts" (p. 79),'-4~ 705. SnU NGlm. G AilY A. "Donne's 'The Primrose'. Manna auNumerological Dallian ce." ElHC I ; :: 3 ~ :l.9 .Comments on certain technical features of "The Primrose." spccifieal011 the significa nce of the manna image in lint'S 1- 4 and the cynical CIlI~'l1of lines 18 - 2 0 : "Since there mu st reside I Falshood ill woman. I COllimore abide, I She were by art, then Nature falsify'd." Argues that all Uldcrstandiug of these two cruxes and the relationship between them "wrllead us to a fuller understanding of 'T he Primrose' and show Ihal Ipoem typifies Don ne's poetic technique as well as a significant stramhis philoso phy of huma n 100'e" [pp. ::3-::4). Explains the manna unbysuggesting that. "since wome n are equated with prim roses Inthe pOl:the image of dew drops transformed into provender ant icipates and fUlla paradigm of Donne's subsequent sophistical transm utation of men rsexual victuals for ravenous women of the last stanza of the poem" illclaims thai in lines 18-:w Donne is saying "that since true loves. hoiflowers and women. arc falsifications . perverse mu tations of nature. ,Isince the normal woman, represented by the fi ve-petaled rose. i ~ ill(1ta bl y false. promiscuous. in nature, he prefers the ordinary to the Illl llllJ/lkind of falsene ss and proposes to justify his preference by his 0 11'11 pClrlart" (p. 25)0Suggests that by lines 18 - 20 Donne "an nounces his illtcnliOlto do for woman what the imagined shower of rain would do fnr IIprim roses at his feet" 111 d , consequently, in the third stanza "dispt'rsl"ishower of wit upon women that provides them with ample food fut lh ~lust" (p. :l.6). Suggests that the numerology in the last stanza should II Ibe seen as the art that Don ne has prom ised and "not merely as au n canphilosophy of numbers he jumped into without warning" (p. ::6), !\ rgllthen, that "T he Primrose" is "partly about art and the relationship uf.lto truth" and is "not primarily about Pythagoras IllHlllorology and doo .nderive its validity from it" (p. 27). Points out that the poem is t ypi ('~ 1Donne's art in two ways: (1) it exemplifies that many of his COl ICCll'self-explanatory or. as one m ight sav, auto-exegetical." that their laueuis "reflexive rather than referential" (p. 27). and that Donne "characrctk I

liograph y o{CriticismII xtcud the conceit to shape ;111 organic poem that reveal. its own.1 structure and meaning" (I'. :: ) and (2 it exemplifie the dramatic11 of manyof anne' lyrics. which have about them the appearance~ J onto neous, elf-di rected logic" (p, 29).06 , , ULLIVAN, ER NEST W , II. "Post Seventeenth-Century '(h is ofJohn Donne's Biatlum atcs." PB. A 68: 3 3-90.ucs that all po t- eventecnth-ccntury text. of Biathanatos. both c­I pas.ages rom the work and complete edition. are unreliable anduthori tativc. Maintains that th only known extant manu ripl, givenI Bodleian Library in 164 2 by Lord Herbert of Cherbury ( hclfmark• ~ IIJ aeo 1 ~ I ), which contain s extensive note and one correction ofn word: in Donne' hand. is the most authoritative text. Argues that• ventcenth-ccnturv texts arc unreliable, "not jusl becau • they rei.th quarto [fi r t edition] as their copy text (even [essopp introducesII ian manuscript readings into his copy of the quarto rather than vice), hul because they (I) misrepresent their faithfulness to their copyimpson, Hayward. Hebel. Gardner and Healy). or (2) rely on oneunfa ithful text (a cia Hilly ' I', Garrod. Coffin. and Mark) or (3)uch more in omplete than their editor (Jessopp) states" (I'. 390).r the reader to hi doctoral dissertation, "" ritical. Old-spellingtil n of John Donne's Bialhanatas' (UCLA. 19T . University licrordr # /3-16. 704).ULLIVAN, 1',,1 RTIN'. "Voice from the past." pectator, I z [anu­, r ', p. 39.s urrcnl Dean of St. Paul's, calls attention to a moving passage about. I. t nee of Cod from a sermon thai Donne delivered at ld 51. Paul's1 F ;J I Day. z- January, in 162 or J6z9. Comme nts on the relethepas.age to modern limes and detects in it "an autohiographiivcilingof Donne's own oul." otcs also that the famous portrait of11 hyan unknown painter till hang in the dining room of the Dean­. Paul' . Reproduces ome unfavorable comments on Donne byt In e and eli agrees with'them.WIFT. AST RID. cd, "John Donne," in Die englische Satire, pp.1- 48. (Uni-Taschenbtlchcr, 3H J.) Heidelberg: Quelle & M .ycr,pro luces Satyre II (in English). Briefl y describes Donne's developta .atiri t and places him \ ithin the historical context of the Enuditionof satire. Compare and contrasts Donne with Roman modpciall • Per ius, Horace, and [uvenal.. '1ARLh 'S ' YA, M. G . "Rim troki i nctr angliy kogo Ryati topago. anba." loskovskii gosuudarstrien nyi pedeoogisheskii 11 ·tituta/I/O trannyk h T : 3° 5- 13.' l i b a comparative statistical study of the accentual line tructurc of

274 • [1974)nineteen poets, including Donne. Notes the numb er and distributionstrongly stressed syllables on the ictic and non-ietic positions of an iamDjline-scheme and comments on rhythmical line variants and the meterEnglish pentameter verse. Regards Donne and Jonson as unique arnotseventeenth-century poets and notes that Donne 's poetry reflects a "10ening of assimilated forn{s ,"~) 7 10. TH OMSON, R. S., ANDDAVID Mc KITTERICK. "A Donne Disci \cry: John Donn e's Kimbolton Papers." TLS, 16 August, pp. sex73·Notes that in 1952, through the cooperation of the Duke of Mancheter, a large collection of Montague family papers that had previously lalundisturbed in the stables of Kimbolton Castle was deposited in the Hun.;tingdon Records Office. Observes that in 188J the Historical ManuscriCommission removed some of the important items in the collectionthe Public Records Office, including the holograph of Donne's "A lettto the Lady Carey, and Mrs Essex Riche, From Arnyens," which was nrecognized as Donne's until 1970 and which is now at the Bodleianbrary Announces that in the present collection in theHuntingdon Rcords Office the authors have discovered six important documents: (I) 1early draft of "Goodfriday, 1613. Riding Westward," entitled "Meditatioupon a Goodfriday, ryding from London towards Exceter, westward": •a draft of a letter by Donne to a lady who was a mutual friend of the Ed:of Southampton; (3) a draft of an unpublished devotional essay on preprations for receiving Holy Communion; (4) some notes on the subiectconscience; (5) a fragment of some notes from an unidentified book; ;11l(6)

Bibliograph y of Criticism6 12 to Elizabeth Vernon. 'outhampton's wife, while Donne was inerrnanv Comment very briefly on item 3 and .+, suggesting that thetier may have been written between 160

how these three 'deep structures' can be conve -cd by the arne words,well as . .. map out the points of irnilarity and of difference bethese three" (p. ..po). Presents a detailed analysis of the content, grarnm.cmantic features, tone and emotional intensity, figurative language.malic and rhetorical elements, and linguistic rnultivalenc of "Batteheart ," Argu that the unbeliever can appreciate Donne' onnet behe "does not necessarily undergo the experien ce embodied in the Jl{with the intensity of a mystic OT a meditating believer," but imply "templates a speaker who addres e Cod and undergoes the experienand thus "may emotionally respond to if' (p. 41 ). Suggests that thenet has "the shape of an 'emotive ere cendo' (with a beginning. a rniddand an end), with a high degree of vividness, multiple relationsluimagery (bestowing unit upon multiple imagery), and mounting inity" but denies that the poem i a meditation (or mystical expertsince "the reader perceives the process of mounting emotion, whermeditation or ecstasy he is supposed to experience it" (p. 42 1).~r. 7 13. MAl I, Z. A. "Somc Aspects of Donne's Love Poetry \Specific Reference to 'Th e Relique," in Essays on fohn D01lTlQuaterCentenary Tribute, edited by AsloobAhmad Ansari. pp.38. Aligarh: Department of English, Aligarh Muslim niversihDiscusse. thc wide range of paradoxical my teries and miracledated with love that Donne explore in hi. love poetry and nottypically he enriches. deepens, and makes visible the paradoxical naof love rather than attempting to re olve the paradoxe through Ianal)' is. Presen ts a leading of "The Relique" to how that the ~....."",....:built upon a 'cries of paradoxes that attempt. to illuminate a centraladox about love and that in the poem Donn e "brings about a conccuce of the per pectives of religion. art and science" (p. 3 ) ) that reIhi mythic on ciousne s, ' uggcs that the major argument of theis that "if you have an eye for genuine miracle that are happenin arIIyou, you can apprehend the miraculous, paradoxical nature of exi leIthat reveals transcendental realities in the temporal and the muntin(p. 3-1-)·~ 'J 714· WADDINGTON, RAyr-,'IOND B. The rVlind :~ Empire: Jvl)'th Gild l­in George Chapman's Narra tive Poems. Baltimore and London: ~ IJohns Hopkins University Press. xi. 2.21p.Mentions Donne throughout, primarily contra ting him With Iman. Suggests that one effect of the twentieth-century revival of inlin Donne was to create renewed interest in Chapman but note that. wl Ithe revival "caused Chapman to b read more widelj than at ninec the enthusiastic appreciation of the Romantic . it al.a ' tabli hmental set which ensured that much of the reading wa a mi. reading1). Compares and contrasts Donne and Chapman primarily to hCJI\ I .different they are and thus to establi h Chapman' poetic identity. pe

notes the difference by contrasting their .o-called obscurity and byinting out that. unlike Donne, Chapman was an allegorist, Con traststheir lise of Platonism, noting that "beneath Donne' veneer of pla­11 1Sm lurks a strong strain of medieval Christianity in the tradition of theIll el1lpl u ,~ niundi,' whereas Chapman's Platonism "runs deep in hisought, committing him to ~ I view of life perceived as wholeness andrmony' (p. 1( 5)'- 15, - - - . "Shakespeare's Sonnet 15 and the Art of Memory," inTire Hhetoric o{Renaissance Poetry: From \Vyatl to Milton, editedhv Thomas O. Sloan and Raymond B. Waddington. pp. 96-122.B rkeley Los Angeles, London: University of California Press.n the process of analyzing in detail Shakespeare's Sonnet 15, discussesllorr as one of the fi ve major divisions of classical rhetoric and coin ­nt on its importance, not only in the sonnet, but also in Donne'slions. PoiII!., out that Don ne's theory of memory was derived essen­1:~ l v from Cicero through SI. Augustine and notes that "the importanceI ned to memory by these three eloquent men .. . springs in large partthei r common Platonic philosophical orientation" (p. 106). Pointshal hundred of years after St. Augustine. "but ill an unbroken lineIII llectual de cent. Donne preached sermons on the belief that 'Thef alvation. is but the art of memory'" (p. 106).'-16 W ALL :R, C. F. "John Donn e's Changing Attitudes to Time,"EL 14: 79- 89 .Repri nted in The Strong Necessity o( Time: The Philosophy o{Time ill~w kespea)'e (Iud Ji'lizabelhan Liietature (De proprietatibus litterarurn, Seriesr lien , 90, edited by C. H. Van Schoonveld) (The Hague and Paris:ulnn, 1976), pp, 67-78.races Donne' radical intellectual development from the 15905 to 163 I ,Tllr focusing on his shifting attitude toward time. Suggests that inr1y poems DOIlI1C"draws heavily on many medieval tradition ', butindependence of any sy. ternatic rne taphy ical implications is a markedlur orhi more serious love poems," whereas in his later works "hislilian 10 lhe problems raised by time and mutability becomes the tra­I nal Christian OI1C" (p. 81 ). Notes that in the love poems two attitudesIrd time confli ct: "either time is redeemable from outside, by valuesal lie beyond time's grasp, or else time is something that must be usedxploitcd from within" (p. 83). Sees the period from 160 5 to 161 5-- as a distinct lurning point in Donne's intellectual development. agICal personal turmoil. doubt. and frustration, evidenced, for ex­I , III he Hnl)' Sonnets and the Anniversaries. I otes that, whereas11 -aw mutability and change as "the medium of life's variety," now"arc evidence of its fragrnen tarines "{p. 4), and thus Donne's "Iasntionwith lillie is slowly becoming a deep despair in the face of unnhie tensions, necessitating: a search for less fragile certainties" (p. 85).

how that in the ermon and Devotions uponEmergen t Occasioll"inte riorizes the ommonplacc observation on the brevity of time IIIparison with eternity" and emba rks on "a quest for the permanent bel'time" that can on ly be found in "Cod's eterni ty, not man' I TIlla hievcments" (p, s). Conclude, therefore, that "Donne' appr Iof time and mutability in hi: love poems is, however : triking ndIul, oddlv limited bv it verv inten itv: and his later intellectual demcnt and hi surrc;,der to' religion . orthodox)' may paradoxicalh 1their root in the very trength of independence and isolalion thnthipoem s demonstrate" (p. 89).~ ~ 7 1 . 'v I IITE, CAlL. "Last Days of Donne: ' SeN p: 7Z.An original poem on Donne' death.~~ 7 1 . Wo DII Ei\I) , M. R. " . Mid-Seven teenth Century Allus: ['Tl ic (' :. x ta .~.•" J(:, '&Q I1. S, 2 1: ,p 3.Finds a possible allusion to "Th e Extasic" in a prose cssav ill I IPoem ( 1659) by William Skipton , in which he attack' the "PlutouiNotcs that 'kipton show little unde r tand ing of Donne's poem a a I hand may have read only the open ing lines or perhaps only rcmcmthem .~ 19. YOSII IDA, AeHl KO. "[insei no Tabi no lbic> IIi attc-s-lohn Ino 'Annivcrsn rics' no Kai:liaku" [Through the trccl of Thi\ I:\ Reading of J onnc' :\/l/lil'ersaries], Kenkyc/ rl'll/X3 (I lam \\01College), no. 1 : 2;-.p .Cited in "Tlic 19 -+ Bibliography: ' The Rena; alice Bulle/III ( IIIai 3nCC In tillite, 'Iokyo) 7 ( 19 ): 20. navailablc.•~~ 720. 21\KI, J,\ Ft\R. "Pope's Adaptations of Donne's Satir '5." ill 1~all /0 111 Donne: A Quater Cellienar)' Tribu te. edited Asloob hAnsari. pp, 11 - 38. ligarh: 1 epartment of English. Aligarh (lim nivcrsilyJ i ell scs Pope's acquaintance with and adm iration of I onnc'Cornmcu ts 011 specific details of Pope's adaptations of .. atvre: II :111and notes that, although Pope followed the genera l plan lind strucluDon ne's poems, he refined the couplets, chose con temporary largehis attacks. modifi ed allusions La fi t his contempora ry .cenc, andintroduced diffcrcn es in tone. Argue. that Pope may have inccrcly 1\to make Donne's .atirc available and intelligible to his ontcmporanmod rnizing them and that he may have wanted to li e ' the nollthe continuity of the satiric tradition. but stresse that Pop '\ primmlive in publishing Ilis adaptation, wa "to carr. on his campaign OJthe people h held come 10 dislike for one reason or the other" (p1\ laintain that in his satiric campaign Pope "was fighting "is battl

ihliograph)'of Criticism279own weapons: he was simply using Donn e as a stalking-1975- 1 1. :\ KI8A. Rvirzo, " ong . onnets ni okeru 'C iron'

with a selected bibliography (pp. -9-60). elections from Donne'. I'll(pp, 60- '6); selections fmm Essays in Divinity, Devotions upon I':"gent Occasions. and LXXX Sermons (pp. - -1-4-61 : election from IInilia (pp, 6 0 - 2). and "'JIll: Dun c" (pp. 717- 1 )-all with note .ernl bibliograph y (pp. 945-48).

II mlion of the analogical system which he saw in Cusanus, Pice, andra 'C I.~ l tS as they are to the more contemporary discrediting of the Ptolmeosmology" (p, 48). Maintains. therefore, that in Donne "there arcruanvtensions between harm ony and diversity within the old s 'stem asr arc between the old sy tern and the new" (p. 49). Discusses in orne.11 Del'OI IOIlS upon Emetgen t Occasions and suggests that "no work ofI llgh h Renaissance illustrate. more fully the close connections be-I literary metaphor and the belief in a universal system of analogies"-I l. Sees the Devotions as "a late Renaissance, self-conscious, androque version of the medieval world view," a work that combines cos­I gical se urity with personal insecurity and makes " a startling usc: of• cry larnilinr tensions implicit in the old ana logical world viev .. (p.uggcsls that "Hymne to Cod my C od. in my icknesse' epitomizesR ' I . IS. ance tradition s of corporeal transformation and homo omnislura : "Co,mology, self-knowledge, and knowledge of Cod unite in thehe metamorphosis of the hurnan body" (p, 60).-~ '. BELLETTE. fu\lTONY ' . "Art and Imitation ill Donn e's A ll nil'ersaries:'SEL 1 j: 3-96.r ICS that Donne's controlling principle in the Anniversaries is "not toUIltJ 111 :1I1Y particular ym bolic identification which we might give toy,ilbcth Drury. nor in the traditional meditative pattern he uses" hutIt ur Full understanding of the poems "depends on our recognizing thential ly poetic use he makes of both the central figure and the formalework of the poems" (p. 8..j.), Discusses Donne's concept of imitationhow Iha: the poems "arc' (like Elizabeth Drury herself) an embodi-111 ) the Idea in the Word, and thu: directly imitative of God's creativep, '5 . otes that "it is the action of her QuI, potential in the Anal­I realized in the Progress, which our own actions must, however im-~

pattern and form, in his celebration of her who gave pattern and fonthc old world" (p. 95 ) and that the poems them clvc embody the \message that the ' attempt to convey.~ 7'!.9. , "

Bihliography of Criticism[1975] •.,- ,.,\' f resolving lhe problem of living responsibly and knowingly in therld "has little to do with the conventional role of atirist" (p. 1"'7) andhi sen e of being in some way respon ible not only for his own inI also for the ins of others suggest that Donne ccs his role as satiristtila priestly and a Chri st-like function . Concludes that it is thi cnscp rsonal involvement in the sin and vice that he sees about him thatinguishe Donne from other Renaissance satirist and that "enables uce b th the conventional and uncon ventional clements of the p emslin a Inger context of hi poetic and piritual development" (p. 1 9).73 1. l3o ZANICH. ROBERT. "Donne and Ecclesiastes." PlvILA 90: z70­'76.that during the years at Mitcham following hi. marriage Donneme: increa tingly overwhelmed by an awareness of his own vanity, ale I' He ted, forexample, in his well-known letter to ir Henry Coodycrcrptcmbcr 1608, and that he turned to I ~ c cl es i a sles to fi nd some insighthis iluation, since vanity is the major theme of Solomon's hook.\ lhat. from that time on, Eccle iustc "exerted a profound and IifelJinfluence on Donne himself' and that "its effects can be seen through11 II" the entire range of hi work-including the ostensibly nonnutoraphirt l nnd nonreligious" (p. Z75) . Notes the influence of Eccleson a (lumber of [ onnes later works-the letters, sermons, Devo­U(JOlI Emergent Occasions, Biathanatos. and especially tile/I' •uri, . Call the poems "Donne's Ecclesiastc. " (p. z7z ) and cornnthe dependence of the two poems on Solom on' book, especially111 attention to the importance of the theme of repudiation of theof human learning and the futility of human knowledge. Points outIII Commentarii in Ecclesiasten by Johann es Lorinus is the onlyem authority on Ecc lesiaste that Donne m ent ions and maintainslhl. commentary "explain virtually every tatcment that Donne ever. bout the book" (I" z71). otes, for example, that Lorinu 's comtnry throw new light on the comp lex imagery of line :!07-130fThed snniversarie, imagery anticipated ill "T he Fun crall.'_ \)IJg,ge:i';L\'A1l lCART, OWl .H1'. Doubting Conscience: Donne and the Poetryor Moral /\ rgll l1l enl. Ann Arbor; T he University of MichiganPress. 199P,lies lhat much of Donn e's poetry, especially the Songs and Sonets,rrucd by methods of reasoning and by habits of thought that arcimiln: to tho e employed by seventeenth-century casuists in theiruinatior: of cases of conscience, hapter 1 . "Don ne and Casuistry"I-I a), points out that the Sones and Sonets, more than any otherc llcction of Renais ance poems, are "poems whose motive. subject.ur , .el ing, tone, and premi c are those of argume nt" and that theo the poem. "usc the varieties of logic to defend and finall. tort their private and vulnerable views" (p. a). Discusses casuistry as a

method of reasoning and as a habit of thought and argue ' that "in,elating the casuistry of the seventeenth century, both Catholic andestant, with the Song« and Sonets. one can find a unifying prin IIJIclearly relate the early to the late. the ccular to the rcligiou , the , .cal to the committed, the feeling to the thinking, and omethin IIexplains to some degree the pecial response to Donne" (p, 10 ). h (2 , "The Dramatic Grounds of Moral Argument ' (pp. 13-P), eli cthe dramatic clements of Donne's love poems and especially cormon ho. he creates and develops the "you" of the poem and allo«speaker to respond to the assumed views and attitudes of the nddre"you." haws how in such poems as "The Prohibition," "Th . LCI;; l"The good-morrow," "The Expiration," "1\ Valediction: of wcepin :Valediction: of m ' name, ill the window" "The Sunnc Rising." " ICanonization," "The Extasie." and "The Flea" "the distance bctwcciperson to whom the poem is spoken and the reader is wide but uot IIInitc, and the latter's response to the poetic experience includes his lindstanding of the spoken as well as the unspoken word, supplied h) iillnation" and that, "as the imaginative experience must constuntlvrenewed, as with each reading, one must resupply the response'you: onc is forced back each time into those possibilities of the dn mthe poem which never are exhausted, never become actualities" (Pl"32). Chapter 3, "Truth and the Speaker" (pp. 33-88), stre:sestha: I 0111speaker, whether crious or Hippant, attempts to articulate a mnralthat is an exception La the general moral law and that he does tlnreasoning that is quite similar to that of the casuists. Surve s a numbpoems, especially "T he Canonization." "The Flea." "The good-merand "The 'xtasic," to show that the speaker primarily argue with a "in the poem "who apparently represents for him all that is public IOdthe speaker fi nds restrictive of his individuality: in short, the ')'Ol1'to stand for all that is normal" (p. 37). Maintain s that in the (InSoneis Donne chose "to write poems about those hard que lion: \ I Jalso give rise to casuistry-when he saw or forced a di 'junctinn h ,t vhis own view and the general one" and that "the truth they drive 101is essentially paradoxical" (p. 39). Analyzes Donne's special kind of, kticism and discusses how in moral matters he is primarily a proba blionrather than 11 probabilist. Argues that in Donne's poem there 'XI Itension between 1I desire for certainty and an acceptance of unccrlniand that "this unfulfill ed need in the face of uncompromising rl'alil.the compromise that arises from that hard dichotomy illustrate lit ekinship of thc speaker of the poems with the casuists of the 'CVl' IIlccentury" (p, 8). Chapter 4, "T he Speaker's Means to Hi. Ends" (Pi>140 ), discusses how, as the speaker "argues again and again \ 'ith Iiious listeners, defending his strange views against what he knows ('moral: as crting that fornication is virtuous or that the separauon (Jics is not all that it appears to be, arguing slyly at orne times and olenat other', hi voice and the way hc speaks become familiar, a do

thod of argument which he employs without regard to the kind of11 11Ip between himself an d his listener, to the i sue at hand andtl (1111 rega rd to the tone he takes with r s pcct to thai issue" (pp. 9-(0).D

286 • [197 51~~ 734. CLARK, JOHN R., hANK FABRY, F RANK .N'IASON, WILLIAMMonms, AND F LO RA ZBOR. "Satire: A Selective Critical Biblio [phy" SCN 33: 1-10.Offers a selected survey of books and articles on satire published fr I1940 to 1974 in order to show the development of modern critical treiArgues that the period "dramatizes for us the enormous burgeoningcritical interest in satire, and itself constitutes a new period in the lifesatire- a period when satire in all its diversity is com ing to be known"5). Comments briefly on several major critical studies published betwe1944 and 1974 of Donne's Satyres and his uses of the satiric mode 31suggests that future Donne studies should consider in more detail thetiric intent of his love poems, religious poems, and sermons.~~ 735. CLAYES, STANLEY A., AND JOHN G ERRIETrS. "john Donne " 11Wa)'s to Poetry, pp. 181-95. ! cw York: Harcourt Brace [ovanovic]Presents a general introduction to Donne's poetry with some biograplical inform ation . Discusses "Th e Sunnc Rising" as a typical ruetaphysipoem and shows that it "illustrates the audacity of the metaphysical ( iiiceit in initially appealing to the senses, but ultimately to the intellect"183). Reproduces (with notes and study questions) "Song: Goc rind caleba falling starre," "Loves Deitie," "Lovers infiniteness," "T he Canon iz .tion," and "A Valediction: forbidding mourning"; reproduce with COlrnenta ry "T he Extasie" and two of the Hal)'Sonnets: "At the round earthirnagin'd corne rs" and "Wilt thou love God , as he thee!" In other parthe book, fi ve Donne poems arc reproduced, including "Batter my hearwith study questions and notes (p. 171).~~ 736. CRAGG, C ERALD R. Freedom and Authority: A Study of EnglrThought in the Early Seventeenth Century. Philadelphia : The \y,min ster Press. 334p.Surveys the numerous intellectua l concerns of the firstforty years of tIseventeenth century as these are reflected in the philosophical, cicntifi ·political, and religious life of the times, especially the central and pentent issue of freedom and authority. Mentions Donne throughout ;111views him as "a particularly illuminating fi gure; in his early work he rfleeted the growing awareness that the cohesion of the familiar intellectualworld was threatene d if not already shattered," but "by resorting to paradhe held in tension elements that were in danger of appearing a. staropposites--eonfidence and pessimism, body and soul, skepticism and fmthworldliness and otherworldliness, humanism and antihumanism" (p. BMaintains that Don ne's sermons "provide an unu sually revealing cluethe forces shaping the thought of his period," for "nowhere else do we hilaso clearly reflected the concepts that occupied the minds of his InOthoughtful contemporaries" (p. 33). Comments on Donne's attitud Jthe new science, Neoplatonism, Paracelsus, death , witchcraft, alchern

B,b/rograph )' ofCriticismII Is, [e uits, atholicism, papal authority. alvini rn, and the Cunpow­Ilot Extcn:ive primary an d secondary bibliographie.7. DA, IELS, EDGAR F. "Donne's "10 I lis Mistress Going tu 13cd,,31-18." EXIJ/ ,,: Item 71.Reply to Jonathan E:. Deitz {entry 6,,). Disagrees that "balls" in line 36the elegy refers 10 female breasts, Finds such a suggestion inconsisten t1 h the argument of lines 33-38 and with the myth of Atalanta, Note.• t "to 1I e the pas es ive ('Atalanta's ball .) does not require us to believehe a t the golden apples. but merely that they are traditionally a o­ed with her: ' Point out that Donne' u.c of the image in a rever al of. roles (women diverting men rather than a man diverting a woman )haractcristi ally witty impl ied paradox: ' ee also Richard F. GilIT)' ;;0).3 ' D AVIES, H ClHTON. Worshi(J and The%g)' in England: From Anc1rewes10 Hoxler and Fox, J603- 16QO. (Worship and Th eology inEngland, \'0 1. :?.) Princeton: Princeton University Press. xxi ii, "92P.lIrVC)' four major religious traditions in England from 1603 to 1690­\n lican, the Roman Cath olic, the Puritan, and the Quaker. Disnolonly the theological differenc . among the groups and theirrltanl difference in public and private worship but also such topic ar haracteristic architecture, mode of preaching. and attitudes towardd music. Mention s Donne throughout. but primarily as a "metasical"preacher, those preachers "who emphasized the paradoxicalmracter of Christian revelation, who used far-fetched analogies to createurprisc and interest, and whose word-play was dazzling, while their erui11

:: . h 9-/ -] . )geT! und lntetpretationen, mit einem einlitcnden av von Rutamm. edited b ~ lanfrcd Pf ter, pp. 9--96. C)

a list of igla (pp. cxxii-cxxiii). Part 2, "Literary Traditions and tyle,"ubdivided into five sections: (r) Prcviou. C riticism (pp. vi- xiii}, whichey critical commentary on the Devotions upon Emergent Occasionsm Donne's time to 1971, with special emphasis on works publishedr m 1950 to 1971; (2) The Use ofSeripturc (pp. xiii-xxxi), which corncutson Donn e's adaptation of the Bible (as well as biblical commentaryd Patristic sources) in the Devotions and contrasts his approach withal reflected in the ermons to show that "rather than being emphasized'built up to: the word of C od become incorporated into and suborditeto Donne' own words" (p. xxxi): (3) '111e Ars Moriendi Traditionx.xii-lvi), which surveys Donne' attitude toward death and lime.mmcnt. on hi adaptation of the art-of-dying genre in the Devotions.d uggests that. "although not ars moriendi literature in the strict sen e,1 Del'otions clearly and consistently refl ects the inAuence of the genre"lvi): (4) Th e lgnatian Medita tive Tradition (pp, lvii-Ixxx), which comntson Donne's adaptation of discursive meditation and Ignatian spiritualityill the Devotions and suggests that his variations upon and deparfromThe Spiritual Exercises "do not place his work outside the lgnatian!ition" (p, lxxix); and (5) Pro e Style (pp. lxxxi-cii), which SUlVe)'S Donne'snou styles in the Devotions and shows that he adapts "di tinct and aptIe fOl each of hi. three subdivi:ions" (p, iii. Part 3- The History of theL I ubdivided into three section : ( I) Bibliograph ical De cription .. iii-ex), descriptions of the first five editions: (2) Seventeenth-Ceo­': Editions (pp. cx-cxvi). a discussion of the first five editio ns and theiographical history of their printing; and (3) Modern Editions (pp. cxviiiiil. a survey of the various editions from 1839 to 1959. Volume 2n Ist~ of tile text of the Devotions (pp. I-I I)1). based on the fi rst edition24 , with a list of variant readings in seventeenth-century editions:I mentary (pp. 1 2- 2"7): glossary (pp. 23 -42): a bibliograph . of ccnrv\ork (pp. 2+"-56); a scriptural ind x (pp. 2; 7-63): and a generaltpp. 26+- 6q).. -.p.. F ERRARI. F ERRUCC IO. La pocsia religio C1 inglese del Seicenio.Florence: asa cditrice G. D'An na. 202p.Divided into two major parts: (1) "Un sccolo eli poesia religiosa" (pp. 9­;d, which consists of a series of essays on [ ~ n g l i s h religious poetry of theven t .cntl: century. and (2) "Robert Herrick. pacta rcligioso" (p, 1'27­) Mentions Donn e throughout the first part and briefly compares amintrasts him with Herrick in the second. I iscu se Donne especially infolluwiug: (1) "lntroduzione' (pp. 11-2'2 ) presents a brief ketch of thc0 11 situation and temperament in England dur ing the fi rst half ofcventcenth century and discuss s how. acred poetry of the time rc­. the religiou conditions of the period. alls Donne the mo t reprclathcpoet of the cen tury and note that "il UD lirismo ragguinge pun tervore rnistico e dcvozion ale, rna il linguaggio e realistico c colloqui­.' (p. I ~ ) . (2) "La poesia metafisica. Tohn l onnc e i suoi imitator!" (pp.

zoo • [ICJ75134-4 ) ornmcnt 011 the inAuence of Donne and Jonson on the dopmcnt of ' nglish poetry and uggests that "dalla felice combmazidell ' scuo lc di Jonson c di 1 onnc dcriva la poesia profana e religio 'Icicento ingle e" (pp. 34-H); discu es briefly Donne' rcligiou Iground and n ibility, hi major characteristics as a poet, and hi IIcn cc on his follower, c pcciall corgc Herbert. (3) "L'art ' d lin rntazionc c i pocti conternplativi' (pp. 74-98) discusses the developnand importance of di cursive meditation on carl}' scvcntccnth-c litEnglish religiou poetry and the influence of the "literature of tear ":rnents on I onne's Chri tology, noting that "la chiave dell'espcricuztica di Donne c proprio la struttura cristologica della sua cdc, . l'intarnorc per risto" (p, 6); di cu es his religiou temperament a refin the 11( 1)' onnets, "Hymne to Cod the Father:' and "Coodfriday; I lRiding We. tward": and comme nts briefly on Donn e as a preacher, callihim "i! pill insigne rapprcscntantc dell'oratoria acra e baroc n illgl(p. (5). (,1·) " (I culto mariologico in lnghilterra dopa la Riformu " (pp,1 10) conunents briefly on Donn e's altitude toward the Virgi n Marreflected in "T he Litallie," " ,oodfriday. 1613, Riding Westward ," Laolla. and "The Annun tintion LInd Passion," Bibliography (pp. I ,-9• ~ 74.... h mRY. AN E. All in \\ ~ r with Time: Love Poettv ojpeare. Donne, Ion '0 11 . Man ·ell. Cambridge. \\a s.. and IHarvard niver it)' Press. :: 5p.haptcr ::, "I anne" (pp. 6·-1Z , ). di cusses Donne ', attitude I \the Renaissance concept of the power of poetry to immortalize thloved and to pre crvc love in a world of change and loss aud notesth'l\wavs of defying time arc di Iinguishablc from those of other poets P Iout that I anne typically rciccl. the role of the pact-lover and argu Ilove can be immortalized by aligning it with the immutabl lav ° 0turc, not by poetry. how, that Donne develop "a kind 0 anu- 'ontional -ternizing poetry" (I'. 4 ) and points out that "throughout IIIelry, by echoing, imitating. parodying, transforming reeo nizablc poirylcs and convention s, he habitua lly cis off the pc ial nalurpoem:" (p. 67). Presents detailed readings of "The gOOd-II 11 1l 10W o " "ISunnc Rising," ",\ Va lediction: of weeping," "/\ Valediction: forbi Idllmourn ing," "The nnivcrsaric," "The Relique," "/\ Valedictiol1: If tlbookc." and "The Canonization" to show how Donn e treats lile couv Itions of "eternizing verse." Connucnts especially on Donne's originali: IIh . uubade and the valediction. I iscusses in much detail "The :, IIIzation," sec it essentially as an elaborate joke, and suggests that it IS •tiruatcly different in kind Irom the ongs and Sonets with which Iu ually grouped, and yet. like them. it defines itself in relation 10 ontional tcrnizing poetry. whi h seem to have embodied fOi 01111tudes toward which his imagination wa deeply hostile" p. I Z:;Ithat in "'111C Canonization ," as in many of his 100'e poem. DOIIIl!: retand satirize the convention of eternizing poetry "in favo r of ,I kill

IbllOgraphy of Criticistnrn that does nol 'Beg from abo e I t\ patterne' of the ideal. but find itthe 'Mysteriou s' and mut able expcricn c of mortal lovers" (p. 125).rnparcs and contrast Donne to hakespcarc, Jonson, and Marvell. I otest, "when Donne argue the power of his lover to give shape: to cxpcribmaking hi language conform to the fact of the timebound worldher than to alter them rnira ulously, he i. newly defining poetry" andIggcsl:! thai Donne's love poem "cxprc a belief in an almo t magical\ of language to impose order on the flux of experien e. even ifworkings arc aid to be like those of natural. not miraculous forces"2 -~ ) .1-1 7 .F LYNN, DE " I , "Donne's Catholicism: I." Recusant IIistor)' 13:iscusses Donne's Catholic heritage, early background, education, andration: and fi nds inad quate R. . Bald's account in John Donne: A.r(e entry 179). Particularly disagrees with Bald's emphasis on Donne as11 ambitious place-seeker and , while noting that Bald greatly modifieslton' account of I onncs life, insi:ts that his "modifying of WaltollIIl pl~ reinforces Walton' view that Donn e was, but wa not really, atholic,' since Bald "in the end agrees with Walton's le s claborateljumented view somehow inferring that onnc' Catholici m must haven 'continued until he had the independence of mind to make his de­Ion for himself-;1 point in time Bald seems 10 think coincided roughlyith Donne's inheritance al twenty-one" (p. ; ). Disagrees also with Bald'se lion that the death of I anne' brother, Henry, led to his apostasy,ntment again. t the Iciuits. and later kcpticisrn and cynicism. rguesnne's abjuration of Catholici 111 wa a slow proces and that he. intained many of hi. atholic sympathies and association well intomiddle years. Di agree al 0 with Bald' notion that Donne's early trav­I to Italy and Spain were not intricately bound up with his religiousnpath ies and strcs cs that Donne' life "exemplifies the religious dimmfaced by uccessivc generations of conforming Engli h Catholiche .ixtcenth and carl seventeenth centuries" and that his fi nal connruty,"accompan ied by detached, private Catholic sympathies, beartn . to a . ignificant feature of Tudor and early Stuart English life" (p.). Fora continu ation, sec entry 82; .• -+5. F'owLER, A LJ\STMIL "T he Shakespearean Conceit:' in ConceitfIJIThought: The interpretation of English Renaissance Poems, pp.7-113. Edinburgh: Edinburgh nivcr ity Press.I i LIS es the complcxit ' of the usc. of figurative language in 'Iizabcpoetry,especially in pcnsers Amorclti, idneys Astrophil and Stella,hake pearc' sonn ts, and argue that critics who regard !.Iizabethanof figurative language a "easy" in comparison to the intricacies of thetaph yi ical conceit have over.implified the ituation. Argues that "inearlier period, wider reliance on familiar metaphors in fact made pos-

sible more complex fi gurative construction" and that "these fami liar IIICphors have them selves, in some cases, become obscure" and lhus "cmuni cation may break down and leave us unimpressed by poclnapparent ly jejune simplicity" (p. 106). Notes that compound rnci phare much less characteristic of metaphysical poetry and uggests Ihal dfigurative structures of many of Donne's secular poems arc. in fact, Jl1 1l •simpler than those employed by his immediate predecessors. uggc Istbin the . 01Jgs and S01Jels "the figurative structure seem to be implifa baroque unifi cation and intensification of effect" (I'. 104). Illustrate tlconcept by analyzing the figurative language of the conclusion of"/\ \ IIdiction: forbidding mourning," especially the compass conceit, to shthat the poem "remains simple and easily grasped, in spite of u 'e ll 'more or less subdued puns" (p. 104). Points out. however, that I onnreligious poems, for example, "Batter my heart: ' contain fa irly co ~metaphors. Con cludes that "the different-styles not only overlapped bcoexisted in the same author" and that "it would be nearer the truth (IIMI nstill

. ul \\it or bitter cynici rn. Chapter -, "Petrarchi m in Diction Onl .:Homage," di usscs how Donne uses .lcmcnt of the Pctrarchau tranunbut places the motifs . metaphors, and theme in the form of angumcnl. haws, in an appendix, that "A Va lediction: of the bookc"nbincs

voice of a complimentary, Petrarchan lover" (p. 2). Demon ratthe inextricably interwoven voice of the poem are almost cornpletcljharmony. even though their motives differ. that they create a ubtle Inplay throughout the poem, and that the center of interest in the po n"a collection of motives which arc resolved musically rather than it Isingle rational proposition" (p. 82).~~ 750. GILES. R ICHAHD F. "Don ne's 'To His Mistress Coing to B33-38." EXP/33: Item 7 1.Reply to Jonathan E. Deitz (entry 633). Disagree' that in line ,6elegy "balls" refer to female breasts. Emphasizes that [ onne i nul ltaken in his use of the rnvth of Atalanta but rather refer' the reader totime after the famous fo'otracc has occurred. after Atalanta has ' Ito retrieve the golden balls. after they have become (literally) \talmballs," Poinls out that in lines 3)-38 Donne argues that there is "the d.1gC I" of inanimate gems drawing attention away from the 'real' gemwomen: their nude bodies" and asks "if. as Mr. Deitz insists. the rnistre'ball " are her breast. how could they possibly act as distraction from hnude body. since it is inconceivable that flesh should distract from ilselce also Edgar F. Daniels (entry n7).~ ~ 751. GOLDB :H C . JON TH AN. "Hesper-vesper: A p eeleventeenth-Century Trope." SEL 15: 37-55.lotc that the star Venus was called both Hesper and Vesper In IRenaissance. a double naming that not only occasioned one of [ 0 1111'Paradoxes and Problemes but that he also later used seriously in The.and ;\llniversarie (lines 98-99). Analyzes poems by Milton and Mar ~that employ the Hesper-Vesper trope in order "to understand til rich P [adoxcs implicit in Donn e's couplet" and to show that. "in the broaden e. that understanding involves an investigation of sevcntcenth-ceu uimagery in its relation hip to philo ophical and religiou que lion Igreatc t significance" (p. 39). hows how the Hesper-Vesper trope Ilimited yet ignificant example of the relationship between cvenleencentury imagery and thought" and notes that "the neoplntonism 0 thpoem reaches back as far as the Florentine Academy and their lyp Ihas roots in the writings of St. Paul" (I'. 54). Suggests, however. lhnl "til Icombination in English poetry occurs first in the seventeenth centunand tha l this combination reflects the peculiar quality of the seventeencentury mind and stands "at the center of any discu ision of the naturits poetry" (p. 54). Conclude that "in the Elizabethan 'kie ne starby two names and ignified oppo ite times of day: but dn 'break and surmeet in Christ. alpha and omega: youth and age meet in HIm and insouls: the world. the flesh. and the devil (what Donne saw in th rnulnuminous Venus) and heaven, soul and Christ, are reconciled in thcordia discors of Hesper and Vesper" (pp, 54-55).

\ Bibliography of Criticism: - 5:. CRrVQVIST, RAOUL. The Heputation of John Donne 177C)-1 r ..\cta niversitatis Upsaliensis, tudia Anglistica Upsalensia, Z4-)ppsala: [ niversitet]; Stockholm: distributed by Almqvist & \Vik­·e11International. Z I zp.urveys available data about Donne and his works, both poetry and() c. and charts his critical reception from 1779 (Dr. Johnson's "Life ofwley"] to 1873 (C rosarts second volume of anne's poetry). Finds threeattitude ' toward Donne and his work during the eighty-four yearrveyed: "one derogatory (a con tinuation of the adverse criticism of thehte nth century); a ccond am bivalent and apologetic: and a third lau­1o" ( ontaining the eed of the twentieth-century appraisal of Donne)"• I-I ). ate that the modem Donne revival was underway from abouto and p inl out that "there was a wider recognition of Donne in hisunction as a literary personality, orator. moralist, and churchman" (p.,). that approaches to Donne's work were greatly expanded , ami that,n addition to being evaluated as a satirist, Donne' othe r works were inasinglytaken seriously, especially his religious poetry and prose. Callstwen tieth-century "discove ry" of Donn e a myth and argues that "theurrection of Don ne tarled m uch earlier. abou t 1800." that "it gainedigour and irnpetu throughout the century," and that. "if we wi h tornmcmoratc .ingle individuals in the re titution of Donne' fame. ituld he olcridgc and his im mediate ucce ors rather than Cos e andt" p. 174). Contains a preface (pp. I 1- 15), an introduction (pp, 17­l ml a conclusion (pp. 17"1- 74). Divided into two major parts. eachwhich contain. fi ve chapters: Part I. 1779-1 30 (pp. Z;- 79), contains"J huson on Donne: ' (2) "Literary Historians and Antiquarians onnne" (with comm ents on the appearance of Donn e's poetry and pro canthologies), (3) "Walton' Life of Dorme: t\ Source of Information andiration" (with comments also on various paraphrases and edition ofLife): (4) "Donne in the Retrospective Reviei«," and (;) "S. T. Coleeand orne Romantic Essayists on Donne" ( . pecially the Lamb Circle.llliarn Hazlitt, and Walter Savage Landor); and Part II. 1 30 - 1 T (pp.l--O , contain ( I) "Vicwi on Donn e's Prose" (including a discussion ofnne' influence on Coleridge's sermons and on the Oxford Movement )."Literary Historians and Scholars on Donne 's Poetry" (noting the ex­U 1011 of Donne from T he Golden Treasury and certain other standardthologies while also pointi ng; out the increasing appearance of his SCClI ­and acred poems in man y other anthologies), (,) "Donne's Biogra­." (4) "T hree Victorians on Donne" (especially Leigh Hunt, Covent rytmor ~ and Robert Brownin g), and (5) "Transcenden talist. on Donne"cially Emcr on. Thoreau, and [arne: Russell Lowell). Contain aIi raplry of primary ou rces, arranged chronologically and includingfour new items (pp. 1r - 8 ) and a biblio rnphy of eeondary ources,nged alphabetically (pp. 189-94 ), as well as an index (pp. 195-Z I z)d even illustrations of eighteenth- and nineteenth-century engraving..

~ 753. H/W . BENNISON. The Phenomenon of Literature. (J) plClplltatibus littcrarum. cries laior, 36). T he Hague and Pam. ~I) Iton. xiii, ;c)-lp.Argue that literature an be t be defined and analyzed a' f tiunway of defining the ph nomen on of literature. note briefly th.1t ' Innonization" contains rhetorical clements, bul because it la k sp '1cha ractcri tics of a space-time event . it is not literature" (p. ~ I ). \ r IJthat the lesson to be learned from Murray Krieger' attempt 10 defin Icraturc in The j ell' Apologi ts for Poetry (19 56) is that "no adequate IIIof literature C3n be based un Metaphy ical poems like 'The Cauomlion' " and that "the reason is simple: it has an element of direct addbutnol suffic icntlv ustaincd and particularized to be an act of utterana fictional cv mt" (p. 290). Maintains that "The Flea." however. i. IiIture because in it "we arc provided with a clearly particularized ,Iutterance" und Ihus "it is an unequi vocal Monolog" (p. 291).~~ 754- IIENIUCKSEN, BH U CI ~ . "'I1IC Unity of Reason and Faith ill DOllSermo ns." I'LL I I : 18- 30.Argues that in his ermons and elsewhere Donne, b · afli nning IT homistic unity of fai th and rca on. "take a position between the c:11 Ielevation of reason by the scicnti ts and its extreme den igration h\ tradical Prete tanto" and that. "despite the frequent polemics against " lolics in hi sermons. I onnc adopts the 'Iridcntine injun lion against 'sudisputation.' and in the central problem of reason and faith he confid3. serts that no s paration exists" (p. 19). 'ole that Donne .• tre Iaspect. of All rustiniaui:m that are compatible with 1 iom ism" and 11although he rarely mentions St. T homas by name. the .cnno n .uulays ill Dillinit)' "reveal a thorough knowledge of Aquina . •nd lh Imake ilcnt u c of arguments and prapo ition. derived from him" (p _Points out that, although ( onne knew the cientific theorie 0 III"the truth of these theorie is not of great importance compared Idevotional truths of Cod's hurch" and that, able to usc either the oldthe new in his poetry and prose. "his altitude toward secular knowleIa logical cxtcn ion of his method of reconciling the claims of reason Ifaith" (p. ~9 ) . Concludes that "at a critical juncture in this historimovement from medieval unity to contemporary absurdity one finds I Ias a person aware of the dangers of the new theology. ambiva lcntly asnated and threatened by the new science, and somewhat no lalgl IIattempting. like I lilton s educator. to repair thc ruins" (p. 30).~ 75- . I-IILL. J. I ~ . A. D E. CARA I LO-TREJO. cds, Baroque I' ISelected and translated, with an introduction by J. P. Hill and I'araccio lo-Trcjo. London: J. M. Dent & Sons: 'Ibtowa, \l.J . Iman and Littlefield. xx, ::!.76p.The introduction pp. xi-xvii ) define baroque a a literary lenexplain. the rationale and organization of thi anthology of I·.ngli h. I lt"n

Bibliograph )'of Criticismpani h. Itnlian. and errnan baroque poem of the ixteenth and. cventhccnturie. . Suggests that, although individual poets and nationaleratures differ. baroque poetry is characte rized by its u cs of the conceit:If manipulation of syntax that creates ambiguity or drama; excess. exagration.and a relatively uncon trolled energy: individualism; and certainiinilar theme . I ivides the ant hology into five major sections, each of'illch is introduced by a brief critical essay: ( I) "Vi. ion of Nature": (2)r ific :. which includ es 'T he Anagram" (pp. 10 5- 6) and "The Autum­11" (pp. . .. -"9): (,) "Love:' which include. "The Dreame" (p. 148); (4)I Life. Time and I cath." which include three of the Holy onnets:II • my playe last ccnc" (p. 1 ) . "Oh my blacke Soule" (p. 196)."Death be not proud" (p. 2 :::0 ); and ( ~ ) "T he Love of Cod:' whichlude two Holy Sonn ets: "AI: the round earths imagin'd corners" (pp.-/-65) and "Batter my heart" (p. 26~ ) . Literal translations of foreignems wi th text of the original. Selectee! bibliography (p. xviii).• 7;6. HOLLANOIm , JOH N. Vision and Heso/l(//zce: '/\1'0 Senses of PoeticForm. New York: Oxford University Press. xiii, 3q p.lentions [ onn e in several previously published essays and in one new"Donne and the Limits of Lyric" (pp. 44 -~ ) fir t appeared in A. J.nith, ed.. John Donne: E SSa )'5: ill Celebration (entry -08). Contra ts benDonne and T homas Campion and comments on Donne's poemexl: "whose mu:ical settings can best be thought of as the 'verbal' muoftheir own. intcn c peech cadences" (p. 73) appear in "T he Ca.e ofmpion" (pp, 71-90), most of which first appeared as an introduction to~Jf.'C 1 ongs ()f T/lOma .~ Campi01il. selected by W H. Auden (Boston: DavidCodine. 1973). Comparisons of Donne and Jonson in "Ben Jonsonl th Modality of Verse" (pp, 165- 5) first appeared as an introducti onelected Poems of Ben [anson ( ew York: Dell L111rel Edition s. 1961).mmcn on Donn e's ongs as written text for tudy in contra st to Elizthanongs for singing in "Romantic er c Form and Metrical Cant'(pp. 1 7-21. ) appeared in Romanticism and Con ciousness. editedHarold Bloom (1lew ork: "'. W l orton. 1970), whic h. in turn , wanded from an earlier version of a Blake essay that appeared in Fromm ibi/it)' to Romanticism. edited by Frederick W Hilles and Haroldom (New York: Oxford University Press, 1965). Discusses in a newa '. entitled U 'Haddock Eyes': A Note on the T heory of Titles" (pp. 212­, "various species of titles and the different kinds of relations they bearand effects they exercise on, certain literary texts" (p. 123), especiallyhort lyric. l oll'S that "it will be hard to find 3 group of hort poem.ntedating Donn e's Songs and Sonnets of 1633 that contains a ignificanther of example ' of what we loosely think of as modem titling" p.and ugges that even Don ne's titles "seem often to bear an indirectlrno t perverse relation to the poem when considered as mere label ofI ct or topic" (p. 221). Suggests that Donne's titles often function as ifcv were emblems and "provide a conventional literary context against

~9 • IJ()75 ]which dramatic and dialectical qualities of the poems them elves 111work. in this ca e to produce a new sort of lyric, neither song nor cmblnor cc asiounl piece nor dramatic musical dialogue. but a mix ure 0of the e" (p, 2~ ).~~ 75 . 1.11 11 . 110 0 ·UI\ E. "Keijiioshijin to Shflkyu- yollln no I\l'l luji'ishijcn- I onnc, Herbert, era haw \ aughan" Mctaphy i 31 rand Religion- Four ~ lctaphy: ical Pocts-I onnc, Herbert,haw aughan ]. in Ei ~'oku Renai once to . hiik)'o .Rcnai .'111Religion in ~ n g l a n dl . edited by 'honosukc Ishii and Peter ~ liI\\pp. I 1 -:;- ~ . Tokyo: Aratakc Shuppan.Discusses the religious sensibility and theological views of Donn 'pecially as these arc ref .cted in his poe try (pp, 11 5-21 ). Include ellsions also of Herbert, rnshaw; and Vaughan.~~ 758. JASO , 1'111 1.1 1' K. "Donne's 'Elcgie XIX (Tb His Mistressto Bcd).'" EXI)! 34 : Item 14.Suggests that in till: final couplet of the elegy the speaker. by 0 enhimself as a proper "covering" for his mistrcs . not only pre ents Ill! \\an example and tries to shame her into undre sing, but perhap also "gucs that the desired onsumrnation of two bodie (and perhaps 11\'0 soucan be thought of as the unification of body and soul into a per' Iindividual." Argues that "thi: concept of the new, rarified individual lof love and/or cxual on umrnation, an idea that run through manDonne' earlier poem. provides a witty, reverberating conclusion IIadver ary relationship which the poem's opening announced: '~ 75 . 10. FS. jVIYRL . "Donne' The Coed-M orrow" Expt ~,37·Points out I onnc' usc of variou rhetorical figure 0 word-rep tiin "The good-morrow" (epa 1J a l eps i,~, paroemion , diaphota, epal1cJplranianaclasisi and shows how they form an integral part of the urgurn IExplains how the poem "is almost an exercise in the mathematic. ofIthrough it skillful liS' of singular and plural pronoun ..~~ 760 . K EHINS, f" RANI\. "A Contemporary Variation 011 John Donr'The Flea' by John Davies of Hereford." N&Q n.s, 22: 539-4 1Comm ents on [ohn ( aviess admiration for and ~~. ociation with I Iand points out that in his courge or FoU)' (161I) appea a hakcspconnct, entitled "T he Flea." that seems indebted to Donne' poem buquite diffi rcnl in its tonality and empha:is" (p. 540). uggests thai I ,\1probabl ' obtained a manuscript copy of Donne' poem and compo dvariation a both an exercise of his own \v; t and a tribute to his fnclld'~41 . Agr 's with ardncr that Donnc s poem wa likely written1601.

Blblmgmphy ofCriticism.~ ~61 KIPAIC KY, PAUL. "Stress. yntax, and Meter," Language ; 1: no.~ : 5 6- 615.laintain that "the way stress is patterned in English depends un wordI1d phrasal tructurc, according to strict rules which are not accountedhv either traditional or more recent rnctrics." and proceeds to explorelese rules in detail and to develop "a formal metrical theory capable ofxpressing them" (p. 570) based on an inventory of basic patterns. a set of1 rical 1111 · , all index of metrical tension, and a set of prosodic rulesp:; - 6). pccifically comments on DOIIllc:'Smemes (pp. 602- 3. 605- 1.. can cveral lines. drawn primarily from La Corona , the HoI SCHI- ­I . and the Elegie., to show that "what so bothered the contem poraryhampions of 'correctness' [ uch as Ben Jonson] was that Donne' poetryntains in numbers too great to blame on carelessnessor textual in3CCU­~, lines that violate the monosyllabic condition of !vIRz" (p. 605), thatthat the odd-numbered syllables of the line cannot be occupied bylr ssed syl lables unless the stresses arc in monosyllabic words. Suggestswi Donne's "metrica l rules arc thus different from those of the mainclition of English poetry" (p. 60;).: 762. Kr.llIMOTO, YO ~HlTAKA . "Donne no hi no Hiyu-Sono Fushini tsuitc" [John Donn e's Metaphor- On the atirical Feature in It).Ki '0 Baika Literary Bulletin, Baika Women's College), 1 2 (December):5r-fi6,' Heel in ''The 1q7 5 Bibliography," The Runaissa nce Bulletin (T he RennssanceInstitute. Tokyo) 7 (1980): 36. Unavailable...-!) 763. KOHKOWSKI, EUGENE. "Donne's Ignatius and Men ippea n Satire."SP 7z: 419 -38.rgut's that Ignatius his Conclave is an early English example of neoicalMenippean satire. Traces the development of the Menippean traloonand compare Ignatius with atircs written for and against the [esuduringthe late . ixteenth and early seventeenth centuries to show thathell Donne wrote his satire there already existed "a strong current ofhCT works much like his own; written in Latin (the Ignatius appeared'ice in Latin before it was pub lished in English), aimed at the Jesuits (orvo lvi ng them), set in the next world, describing a secret gathering, andudging thc philosopher, savant, or theologian who deserved, better thanI rivals ami an tagonists, the dubious distinctions of some fi t niche inII. or some similar otherworldly locus" (p. 431 ). Points out num erousrallels between anti-]c uit Mcnippean atires and Donne 's, such as theaborate effort to be anonvmous . the usc of the victim' name in the titletong with an ironic epithet, the mixing of pro e and verse, and the ironic. of the "printer' statement" (which in Donne's case is himself). Sug-. ls thai Donne followed the model of Curioncs Pasquillus Ecstaiicu«1- 45). Notes that Donne's mention of Macer (actually Caspar Schoppe),boul, Lucian, Pasquil, and Erasmus shows his familiarity with recent

Continental -leuippean satire and notes that in The Anatom ' of j\-ld Ulehal)' (162. 1 Robert Burton lists Ignatius among other Mcnippeun aliuggests that Donne llIay have written his satire at the suggestion of . 1Henry Wotton, the King's ambassador in Venice, who informed Jam 'that Casper Schoppe (a pro-Jesuit Mcnippean satirist) was preparingattack on the King's hook of theology, Ecclesiasticus. Surmises thai Donnin order to win the King's favor, decided to take advantage of the rnomen"not only by satirizing Schoppe and the Jesuits, but also by ridiculithem in a genre which had long been an embarrassment to Catholici TIla genre which the Jesuit had attempted to appropriate for their own puposes with dubious succc s" (p. .nS).~~ 764-. LA B ELLE, JE IJOY. "Martyr to a Motion Not Hi.dare Roethkes Love Poems." BSUF 16: 71-75.Discusses the influence of Donne on Roethkes love poems and SllggCIthat Roelhkes methodology "is consistently in the tradition of Donn " p74). Points out that Roethke directly refers to Donn c in "T he Swa n." Llmin the elegy "Th e Dream" he "adopts both the title and theory of on1 onncs love elegies" (p. 72). that he borrows the tillc "L I\' C', l'rozrefrom Donne, and that in ,,' Knew a Woman" he u e all image ll ltill~3tderived from St. Augustine but that "the master of the method \ hi IRoethke uses to handle this image i Donne" (p, 74-). AI 0 suggests ha"although usually we do not think of Yeats as essentially in the D I Jtradition, Roethke responds to him in a way which docs point OUl t1sympathies between the love poems of Yeats and the tradition of Donnand that "by bringing YCi1L~ into association with Donne, DrummondJonson, Marvell, and Lawrence, . . . he offers lIS a new per pcctivc 01\.major tradition in English love poetry" (p. 75).~~ 65. L Efu'llER, L\U\{E] CEo "The Dream ," in All Introduction to Eglish Poetry: Fifteen Poems Discussed b)' Laurence Lerner. pp.. _51. London: Edward Arnold P,ublishers.Explicates the highly intellectual argument of "T he Drearne" and ctrasts its wit and complexity with T homas Campion's melodious und dire"Come, 01 my life's delight." Also compares "T he Drcarne" with '111Relique." Shows how I onne mingles lyric, narrative, and dramatic dmerits and suggests thai his originality as a love poet "consists essential!of two things: his wit . . . and his dramatic power" (p. 50). Briefly C Ipares The second Allniversarie to Browning's "[ohanncs gricola ill Itation" (pp. 161-62) and notes that, while "both poet tell \I how thjourney through the firmam ent. impatient to arrive at its goal . .[ anne strives toward. Browning simply states" (p. 1 6 ~ ) .t."!!~766. LOTTES, WOLFGANG. '''On this Couch of tears: l\lcditatioin Schwerer Krankhcit von Donn e, " 'olton, Latcwar, Isham IIPhilipot." L\VU 8: 56-71.

Bibliography of Criticism 3°1Discusses the "poem of severe sickness" as a specific genre written withinhe meditatio mortis and ars moriendi traditions. Explicates "Hymne toGod my God, in my sicknesse" and calls it the high point of Donne'sreligious poetry. Relates the poem to ideas found in sermons, especiallyDeaths Duell, and compares and/or contrasts Donne's brilliant treatmentof severe sickness and impending death with "poems of severe sickness" byHenry Wotton, Richard Latewar (or Latworth), Sir Justini an Isham , andT homas Philipot-all of whom see suffering and death as mea ningfulteps toward eternal life.~ 767. MCCANLES, MICHAEL. "The Dialectical Structure of the MetaphysicalLyric: Donne, Herbert, Marvell," in Dialectical Criticismand Renaissance Literature, pp. 54-11 7. Berkeley, Los An geles.London: University of California Press.Discusses a dialectical method of analyzing Renaissance literary worksand demonstrates the method by commenting on specific poems by Donne.Herbert, and Marvell. Examines the highly paradoxical nature of metaphysicalpoetry and especially comments on how the poems "exhibit paradoxin their personae's attempts to exha ust a multi-faceted reality in asingle intuition or proposition" (p. 54) and thus how the reader "m ustmake continual adjustrncnts as he grasps the reality through the pocmthrough in the sense both of instrument, and of a movement beyond it"fp. 56). Suggests that typically Donne "speaks to the reader both throughhis personae and over their heads, detailing such accommodation of dialccticas the lyric-indigenously a nondialectical genre-can afford" (p.57) and that Donne attempts "to reduce the interrelations of objects andpersons in time and space to a single moment of intuitive, tran sdiscursivevision" (p. 57). Discusses the dial ectic logic , uses of paradox, and interpenetrationof dynamism and stasis in lines from "O bsequies to the LordHarrington," "Lovers infinitenesse," "A Lecture upon the Sh adow," "T heCanonization ," "The Anniversarie," "The Extasie," "Oh, to vex me , contraryesmeet in one," and "Hym ne to God my God, in my sicknesse."Shows that "in both sacred and profane poems Donne engages to bcstpurpose the intimate confrontation between demands for unchanging certitudc,and a human or divine reality that can be seen onl y in continuallymodified perceptions" (p. 72).~ 768. MACCOLL, ALAN. "A Note on Donne's 'Loves Cr owth." ES 56:314-15.Suggests that in lines 15-1 8 of "Loves growth" Donne may be referringto the medieval notion that all heavenly bodies, including stars, owe theirlight to the sun and, therefore, the lines mean that "the stars (includingthe planets, often spoken of as 'stars') are visible to us only by virtue of thelight from the sun which they reflect and which thus 'shows' them withoutof course altering their actual size" and that, "sim ilarly, love does notreally become greater in the spring-the influence of spring is rather to

30 2 [1975]make it 'more eminen t: causing it to reveal itself (by eliciting the 'genlove deed ' of line 19)" (p. 315). lote several possible objection to ua reading but maintains that it seems "more characteristic of Donne IIhe should have constructed his ana logy from an item of traditional .citific lore than that he should have got it from some idiosyncratic nat Iobservation" (p. 31 ; ).~ {l 769. MORTIMER, ANTHONY. Peirarch's Canzoniere ill the E llgli~Renaissance. Edited with introduction and notes bv nthony Itimer. Bergamo: Minerva Italica. 15 p.Docum ents the direct influence of Petrarch on English poets of IIRenaissance and attempts to show which of the poems in the Can;:OIl/they read and imitated. Points out that Donne demonstra tes the conlining itality of the Petrarchan tradition in the early seventeenth centunot only in his parodic. of the conventions but also in his serial! Uth em. Points out direct borrowings from Petrarch in "Tlvicknarn gard Iotes that Donne extends the range of Petrarchan imagery and deviusing them for non-Petrarchan ends, such as the erotic love poemthe religious sonnets. Presents an anthology of English translations andimitations of specific Pctrarchan poems (pp. 35- 1° 5) followed by the Itian original (pp. 109-40). Selected bibliography (PI'. I.j. - 46.~~ 770. 'IUELLER, JANEL M. "Death and the Maiden: Th e Metaph Iof Christian Symbolism in I anne's All niversaries" {VIJl 72: 280 ­Review article of Barbara K. Lcwalski, Dunne's Anni!'!!r,aries alld IPoetr), ofPraise: The Creation of a Symbolic Mode (entry ; 72).Calls the study a firs t-rate contribution not only to Donne tudics Ialso to an understandin g of seventeenth-century literature in general. I'pecially praises Lewal:kis presentation of the theological and biblicalderpinnings of seventeenth-century English Protestant! 111 that InDonne's poems and finds the presentation of the tradition of culo 'ISand complimentary verse also especially helpful. Docs not hare full Jwalskis judgment on the final success of Donne's poems and find Flibeth Drury a .ornewha t inadequate: symbol.~~ 771, NAHDI, SALAH AL. "John Donn e's Love Lyrics: t\ Study ill Ima lic tructur e." ' En 1: 67- 76.Cited in PMLt\ Bibliography. lC) 0 . item # 5516. navailable.,~ 772. 0 1, SOICHIHO. "John Donne-Sono Ai no Shisei ni lsuite" [jIl lDonnc- His Attitude toward His Loves]. Kenkyu Ronshii (Til Iview of Inquiry and Research, Kansai niversity of Foreign Iies), no, 21 (February): 39- 67,Citcd in ''Thc 1975 Bibliography: ' The Renaissance Billie/in (The Inaissance Institute. Tokyo) 7 (198o): 36. Unavailable.

Bibliogra phy of Criticism~ 773, OTTEN. CHARLOTI'E F, "Donne's 'Elegie upon the Untimel yDeath of the Incomparable Prince Henry."• Expl 33: Item 59.ugge ts that Denne's reference to the mandrake in lines 53-54 andbliquely in line 79- 2 of ..Elegic upon the untimely death of the inrnparablePrince Henry" is to a .acrcd tradition concerning mandrakes,I to the rnagico -medicval CIne. otes that in the sacred tradition theandrake is a "poignant mortua ry symbol," as evidenced. for example. inllilo of Carpa ia' Comm enta ry on the Canticles. Maintains that Donneen the mourn ers in the elegy to mandrakes because. "as creatures whorang from the dark earth and who will return to it. they wear the imagerdeath:' Th us, it is mortality that "unites mourners and mandrakes" andth are "nourished and sustained by Prince Henry's 'putrefaction' (1.r Shows that Don ne's reference serves to praise the Prince's superior'lie ince he has risen above mortality.74. OW I::NS, ROBI::RT R. "The Myth of Anian ." !HI 36: ] 35- 38.Notes that the straits of Anian , mentioned in "Hyrnnc to Cod myCod,III Il l ' sickncssc" (line 18), arc "not a place but an idea that was transrmedinto an image and for nearly two centuries masqued as a physicalration" (p. 135). Disagrees with Grierson and Clay Hunt, who identifye straits a the Bering Straits. since the Bering Straits were not known inDonnes time and since Donn e's intention in his poem "is not to identifyIn e on earth, but to assert a spiritual unity symbolized finally by [eru­Iem" p. 135). Points out that aftcr Magellan discovered the straits namedI him in 1520 "the exi. tence of a northwest passage became 'necessary'show the approximate mirror-image and perfect balance of the northernnd southern hemispheres" ana that the name Anian "was associated withe western terminus of the pa sage, or land. adjacent to it, wherever orhatevcr they were" (p, 13~ ) . haws that at various times and on variousaps Anian was located in different places in North America and Asiaid \\~J S retaine d on maps well into the eighteenth cen tury, until Vitusring' map of 17 3 0 showed the straits bearing his name and "forced aurious conception in mythography to defer to empirical geography"p. 1, 8).~ 775. PARKER, BAHBAHAL., ANDJ. Mxx PATIUCK. "Two Hollow Men:The Pretentious Wooer and the Wayward Bridegroom of Donne's'Satyre 1.'" SCN 33: 10 -14.Analyzes the structure, con tent, technique, and imagery of Satyte I.\rgue. that the structure and content "are interrelated and together eludatethe dual themes of inconstancy and self-deception around which~I the poem's elements revolve," that the two major parts of the poemm 1-52 and 6 -I 12 ) "are respectively dom inated by a spiritual-inteltualandsecular-physical cha racter. two antithetical extremes," and that"fondling motley humorist" erves a a foil and counterpart to theker, who "remains the primary butt and focus of the satire through

which his character is progres.ivcl . revealed, first by mean ufhi attituin part one and secondly by means of his responses to the evcnf intwo" (p. 13). Maintains that "the structural and th 'mali parallelismthe two parts is manifested in the overblown self-ima re of ach charnelin the correlated sla res of their inconstancy, both of ",hi h culminate Ithe metaph orical adultery resulting from the desertion of their respe ticonsorts; in the instability and 'improvident pride' motivating the behaviof each; ... in the love motif; and in the movemen t of .ach part fr mhigher to a lov er moral plane" (p. I ) . Point out that in the tran Ilionsection of the poem (lines -~-66 ) the two characters "arc equated afinally reduced to the arne lev I" and argue that especially clothing"comes a metaphor not only for incon tancy but for the illu ion and 1deception which it here thematica lly embraces" (p. 13). \:e. bothactcr in the poem, therefore. as caricatures. ugge ts that at 're l -exhlit the tension between the spirit and the flesh which \ as to 'ngage Donnfor the rest of his life" and that "it also adumbrates the concern wi th constancy that was to become the theme of so many of his later poems" ()13). Concludes that Donne probably did not believe ill the possibilionstancy, unlcs. . a 'atyre I sugge. ts, one choos 's elf-iruprisonrnen'4 ~ 76. PARKER. DEREK. lolr" Donne and His \Vorld. L ndon: Thamand Hudson. 127p.Pre ents a popular account of I onncs life. times, lind literar \ rand reproduces I II illustrations (portraits of Donn e and his associates 31contemporaries, maps, legal and literary documents, b ok illu tratiofrom the period, pictures of places associated with Donne, and 0 onRead Donne's poetry and prose as autobiographical: notes. for instanthat in 'The Canonization" Donne " ecs Ann [More] and him elfa 1being, the Phoenix" (p. 39) and suggests that "Coodfriday, 161 . Rid\ cstward" (perhaps written in 1610) "certainly ecrns to comment [Donne's perplexities and worries about whether or not to nter the Churd(p. 51). Consider the Elegies and certain of Donne' other carl) poemreflecting his personal libertinism and his erotic urging at the time.knowledges, however, that "in the love poem on find a radical m rtone illuminated by experiments in prosody and form, hv images whicould never have occurred to an)' poet before him as bdng pas.ible, mwhich perhaps only in our own time have seemed natural and have thenfull effect" (p. I 13). Calls the Satyres "uncomfortable work, a they wemean t to be" (p. 21) and see them as "obvious examples of hi. pioncerinspirit as far a ocial critici m go ,. (p. 112). Praises I onne' reli 1poetry for its complexity and sincerity and admire the power of himon . Chronology(pp. 1 I --16), list of . ources and bibliography (p. 11annotated list of the illustrations (pp, 118-23). and index (pp. I:q - :!'4~777. PAR1U SII , PAUL A. "Donne's 'A Funeral] 1·;legic.''' PLL II:87·

Bibliography o{Criticismo mon Irate how "A Funcrall Elegic" "serve a an effective tran i­nal piece between the two longer nniver .ary poems" and commenthow"i t all attention. in explicit fashion, to thc dominant image and101 of view of th Anatonl )''' while. at the same time. hinting "at everalcern 10 be developed in the Ptogres" (p. 7). Maintains that, perhapsOre importantly, "in its recognition and union of two quite distinct yetportivc perspectives on the death of a young girl. 'A Funeral] Elegic'ipates the ultimate and more comple te union and reconciliation ofwo poem to be achieved in the imaginative response of the audi­" tp. 7)·---. "Donne' 'The First nnivcrsarie.'" Expl 33: Item 64.u ests that the word retit'd in line 161 of The (irst Annil'ersar ' isial 10 a proper understand ing of the image created in lines 147- 54d hould be rend as "rc-attired," a reading that cmerges from the irnediatc context and that requires only a slight orlhographical adaptation .lies that such a reading "allows us to pick lip immediately the clothingag \ ith which Don ne concludes his concern with the physical size ofnkind' and reinforces the notion that man has not only shrunken inleal .ize but that hi mind has been also impaired and crammed into"tight-fitting garment"- 9. PEACO , . J. "Donne's Elegies and Roman Love. Elegy." llermathena119: 20-29.i cus"CS Donn e' s borrowings in the Elegies from Ovid and from otherman elcgaic poets, especially Tibullus, Propertius, and Catullus, andrnpt to show that, "in considering Donn e' Elegies, we should not. imply for borrowings from the Amores, but from the wider etho andn entions of the Roman clcgaic tradition" (p. 28). Argues for "a certainndence Ill! eclecticism in Donne's lcgaic borrowings" and pointshi! hi "individual and imaginative re-working of certain motifs fromJove-elegy" (1'. 20) highlight his originality. Stre ses that Donne "i inition to survey love-elegy in it. entirety and intelligently derive whatcfulto him from every phase of its development" (1'. 26).7 o. PUI'- URNIS, l'vIARcEL . "Early Seventeenth Century Poetry andthe Tradition of Modern Verse," in Ivlodem English Poetry: A Criticalatul Historical Reader. Vol. 1: From Donn e to Alexandre [sic]Pope ' 1590-1 30), pp. 1- '33. Timisoara. Rumania: Ti rnisoara niveit · Pres .II" e ts that any survey of modern •ngli h poetry must begin with a. of e enlcenth-ccntury poetry and comment"brieflyon a metaph . ­I tradition from Donne to T. S. Eliot and Edith Sitwell. Surveys theIleal. intellectual, and religious history of thc cventcenth century andiments on how the temper of the times is reflected in the poetry. Outmajorcharacteristics of metaph ysical poetry and briefly surveys the

lohn Donnehistory of the term, especially commenting on D r. Johnson's criticism nlmetaphysical poetry: In "John Donne (1572-16 31)" (pp. q-22) discussesDonne's harsh realism, uses of conceits, colloquial language and naturalrhythms, "masculine" express ion , satirica l and comical intentions, self·dramatization, ami his love of playfu lness and paradox. Comments all"T he Sut1l1C Rising" ; "A Valediction: forbidding mourning," especially lilt'.compass image; an d "If poysonous mineralls" to illustrate the major characteristicsof Donne's poe try, especially its dramatic clements. Selectedbibliography (pp. 51-54.).'.c~ 78 1. POTIER, MABEL. "A Seventeenth-Century Literary Critic ofJohnDonne: T he Dobell Ma nuscript Re-exam ined." llLB 23: 63-S9.Describes the Dobell Manuscript (Dab) at Harvard (a.,IS Eng 966..j.),which contains a large collection of Don ne's works as well as miscellaneousnotes written on blank pages and in the margi ns. Notes that themanuscript is unique among seventeenth-century collections of Donne illthat it contains both his poetry an d three sermons and especially ('".III,atte ntion to the important fi rst sermon (Psalms 38: 9). Reviews the inconelusive evidence for the original owner of the manuscript and concludethat the Herbert fam ily "is a tempting possibility" (p. 70). Points out thathe marginal notes in Doh arc by William Balam of Ely (16 51- 17::.6) angives a brief biographical sketch of this admirer of Donne. Surveys thdeclectic nature of Balam's notes and evaluates in particula r his criticalcomments on Donne's poems. Surveys also Donne's popularity at the enof the seventeenth ami the beginning of the eighteenth century and sq;:·gests that Dob "reveals an absorbing interest in John Donne at a timwhen the development of literary taste was counter to Donne's style" Ip,89) and also reveals Balain as a meticulous and astute literary critic I'.hlperhaps deserves to be called "a precursor of analytical criticism" (p. 86)~ 78::.. REES, DAVID. "Marino and Donne,' in Essays in Honour {Iflohn Humphreys Whitfield presented to him all his retirement {romthe Serena Chair ofItalian at the University ofBirmirlgham, editedby H . C. Davis, D. G , Rees, J. M . Hatwcll , and G. W SIOIl,'c,I,pp . 181-97. London: St. George's Press.Contends that, although Marine had no direct in fluence on Donne andtheir personalities and careers were dissimi lar, the two poets were both. ttheir own ways. poets in revolt and "major representatives in their respcctivecou ntries of a move away from the broad Petrarchan tradition whichhad dominated the lyric in the sixteenth century" (p. 182). StresDonne's re jection of and para doxical uses of the Petrarchan tradition allprevailing poeti c fashions; his intensely colloquial, perso nal, and drarnatntone; his directne ss and the range of h is love poetry; his wit; and his extcusive experimentation with for m . Suggests that Donne's ability to portralove "as a complex phenomenon involving the who le of the human personality and not as a literary myth organized along conventional, literar\!

ne . combined with his stylistic originality and his intensely dramaticn cption of the dynamics of a poem, makes I an ne's an utterly distincvoice"(p. 19 5). Compare and contrasts Donne and Marino. noting,r III Ian c. that "the world of Marino is brilliantly sensuous, outward.ial. audible. tactile:' while that of Donn e "is dramatic. personal, ill­..[p. 1C)d. Conclude that "Marino, confronted with a declin ing po­II.JiOI11. aim to revive it by a potent injection of rhetorical violence,"rea "I onne s reaction is to reject it and to substitute for it a style11·11 is sinewy, colloquial. and in any traditional sell.e 'unpoetic" andat whereas "Marino's verse i nvites the reader to wonder at the musicaldecorative quality of language and the virtue ity of the craft mant,"I onne' poetry "introduces him with monosyllabic urgency to drama.umcnt and to hum an predicament" p. 190).• 7 3· R EEVES, T ROY DALE:. "Don ne's ./\ Nocturnall upon ' . LucicsDay: 35." Expl 34: [kill 26.Points out that in "A nocturnal] lipan S. Lucics day" Donne says thatdeath of presumably Lucy, Countess of Bedford, has reduced him totiling hili in ist that "the ordinary nothing (line 3-) must be di tinhd frorn the first nothing (line 29) in order for the reader to underltdthe perplexing final sentence of the fourth stanza, 'If [ an ordinarything were, I /\s shadow, a light, and body must be here' (lines 35-~6 ) . "mrnents on Donne's understanding of these two kinds of nothing byling Irom cveral of the sermons. Maintains that Donne, "sunk to thenothing. to the chao and non-being which preceded creation i elf.bod: to cast a shadow were there light" and "ha. become. indeed.hom nothing, less than ordinary nothing. th 'Elixir,' the very es cnce,first nothing,~ 7 '4· RICHMOND, HUGH M. "Personal ldcntit ' and Literary Personae:\ tudy in Historical Psychology." PMLA 90: 209- 21., II cs "historical psychology" and sees it a "a whole valid di ciplinc11·1 to literary criticism and reinforcing it. which studies the evolutionlillian sell ibility and mental processes in ways also analogous to andI" including such more selective disciplines as the History of ciencc,vcu Ihc History of ldeas" (p. 209 ). Illustrates its procedures by suggest­!Imt "partly as a result of nonlit erary pressures in the Renaissance theIn 111 mind acquired certain possibilities for self-defi nition and heighttilerformance which were not as fully recognized in the literature ofIOUS periods. so that the ,'tudy of the uses of these resources in ReanI.: literature is still cs'enlialto the full development of modern per­1. 1Idclltity, a ' our continued admiration suggests" (p. 209). DiscussesR nms ancc "legitimizing of a truly private individuality free equally"n "glO\ ing revulsion frorn orthodox public roles and services, aboveI the ecclesiastical hierarch y to \ hich politic remained nominallyr linated throughout the Rcnai sance" (pp. 209 - 10). mong many

examples, discu 'C!' briefly I onncs "virtuosity in striking di tincti,cin hi poem " and notes that the poem often "reject public o rcreward . while attempting to vindicate the worth of the private sc lIali faction" (I'. 21 J • a. ob crvcd. or example, in "The Canoniz IIuggcsts that the . ocial discrim ination that Donne uffercd becau catholi ism only served 10 intensify his rejection of fame, honor,public roles, Compares I onnc and hakcspeare and ugge ts thdt Icreated. "both in and oul of hi ' lyrics, a persona as complex. subj Iand volatile 3S any of hake pearc' more gifted heroe " p. 2161. ~ IIItain that, under the in .piration of hakespearc. poet such a I 0 1M ilton , and Marvell "mapped out our modern .cnsc of (limen lUIper anality" (I'. 2 J ) .U'!! ~ 785. Rrs ANEN, PAI\VLJ. "The Background of Experience B I II onncs ccular and Religious Poetry." NM 76: 28 2-1)8,Argues that, by examining the emotional background und cxpcri Ithat lie behind Dorine's poetry ami relating his ways of tliiuki ug and ~ing ill the pocm. to known biographical information. one call T'COilthe seemingly separate personages of [ack Donne. the young libertine Iof the Elegies. and Doctor Donne. the divine of the hymn . . howin both secular and religious poems one can detect a C0 l111ll0 11 d nnator: "Ih .cou ch fOT Ion : and . ccu rity, for emotional and eXI I nualfillmcnt" (p, 2 2). Trace: I oune' carch for hue human love in hie and the ong and DlIe t. and his equally difficult eurch fm Cand Ihc fulfillment of .od' love in his religious poems. Findv"] hta ric" an important turning point in Donne's quest, for in it he "pnew and diffeTcnl attitudes about love and "expounds his cxp ricn100'c is not a .tatic thing. but a dynamic process that expands and Ifinding new level and dimcn ion. " (I'. 2 8). Disagrees with thoapproach uch poems on purely [orrualistic ground, and r 'gaTt! III Jmerely witty, rhetorical performances built on Renaissance thcorie Ior con cn tional models. ugge: t that Donne' major crisi cam ' 111 lwith the death of hi major support. Ann More, and that foll O\\ 1Ildeath he turned more earnestly to fi nding security and fuifi lhnenl lllArgues thai "the fact that I onne sought and found a religious ~ () l ll tihis problems docs nol necessarily mean thai they WCTe religious 111 tnature. nor that peace with .ud was the only possible answer" (p,but it was I 0 11l1C'S solution. Concludes that "at the core both Jilek Iand Doctor I onne lose their masks, and their story become. (hat n JDonn e. which ill itrclf, at the deepest level, is the univer al storv lJ Ion hi search for. and reaching of fulfi llment" (I' . 2')8).~ ~ 6, ROBER'I • J UN It. cd. Essential Articles (Dr til ' tucl\ JDonne's Po try. n he Es cntial Articles Series, gen. ed. Ben JSchi lling. ] Hamden. onn .: Archon Books. an imprint 0 IhString Pres . xiii, 5:; p.

Bibliograph )' o{ Criticismntain: a foreword by Bernard j • Schilling pp. ix-x) that explainspurpose of the series; :J prcfa e (pp. xi-xiii) that ex-plains the guidingnciplcs behind the selection of CSS:J)'.: thirty-nine previously published~. (reprinted without editorial change ) divided into eight major eaten- (1) Donne's Reputation , ~ I onne and the Development of •n­-11 Poetry. ( ~ ) Donne's ses of Tradition. (.~) Pro ody and Rhetoricaldition. (-) Love Poetry, (6) Religiou Poetry, (7)'n le Anniver arie , andIi cellaneou: Poem (pp. 1-474 ); notes from the individual e sayPJl 4--- - 53): and a elected bibliography of modern criticism (pp, 55 -­E say publi hed between 196 and 197 have been annotated in thiibliography: for annota tions of the others, ee John R. Roberts, JohnIIl1e: I\n AnnotClted Biblionraph)' o(lvIodem Criticism, 1912-1 967 (Cournbia:Univer it)' of Mis ou ri Pres . 1973). T he following essays are inluded:(1) Mario Praz, "The .riticul lmportance of the Revived InterestSeventeenth-Century Metaphysical Poetry,' from English Studies To­'. edited by C. L. Wrenn and C. BlIll ollgh (London: Oxford Universityre s, 1951). pp. 158- 66; (2) William R. Keast, "Johnson's Criticism ofJ c Metaphysical Pacts," from ELI-! 17 (19 50): 59- 70i (3) Kathleen Tiltson,"Donncs Poetry in the Nineteenth Century (1800- 72)," from fvlidicumanStudies, edited hy Geoffrey and Kathleen Tillotson (London:hlone Pres , 196 5), pp. 27 - '300, which first appeared in Elizabethanlid Jacobean Studie (Oxford: T he Clarendon Press. 1959), pp. 3°7-26;I lerritt Y. Hughes, "Kidnapping Donn e," from E.says in Criticism (adnes). Univer it)' of Ca lifornia Publications in English 4 (19 34): 6 1- 9:F. \\ : Bateson, "Contribution 10 a Dictionary of Critical Terms. II.I ocialion of ensibilit.... .Ie I (I

310 • [197 5Jardner (Oxford: Th e Clarendon Press, 1959), pp. Z79-106: (2 11 ~IY. Hughes, "Some of Donne' 'Ec tasies,'" from PMLA T ( 1900): ­18: (22) William J. Rooney, "T he Canonization'-T he Language nf P,adox Reconsidered," from ELH 23 (1956): 36-,+7: (23) [ohn Fre"Donne's 'Valediction: Forbidding Mourning, " fro m ELI-1 3° (1

J\ Bibliography oi Cnticism3 1 1.ual mode of carefully selected change from OIlC woman to ano ther.bscrves that what on e feels ill Donne's co nclusion "is all opening ou tnd a liberation . however precisely controlled , from states of putrefactioneither motionless or random movement] through purity (the moving waternd musical harmony) to illumination (the discovery of etern ity in gcnration]"and that "to cu ltivate a sexual mode which im itates th e ccnti­U1ty of a world of cease less changes would seem to be the motive ofDonne'sargument" (p. 67). Notes that such a notion approxima tes a normi constancy in movement hut excludes the in tensity of pleasure describedn"The Extasic,'~ 788. RUOFF. J..H 1ES E. "[elm Donne." ill Crowell's Handbook of Elizabethan & Stuart Literat ure, pp. 11, -20 . New York; T homas Y.Crowell.Published in England as Macmillan's / lamllxxJk of Elizabethan & Stuartuleratl1re (Londo n: Macmillan. H)7 ; ).Presents a biographica l sketch of Denne and com ments on th e majorcharacteristics of his poetry an d! prose, suc h as his major them es. his uses! conceits and meta phors, his rhetorical directness and colloquial lau ­_ age, his uses of dramat ic and argu menta tive elements, and his met ricaljoughncss. Notes. for instance" that Donn e's "relentless pursuit of exact­I l~ S . coupled with a white-ho t wit, breathta king capaci ty for speculation,nd contempt for conformity allow for few compromises with shallowindcdreaders or with those sentimentalists who insist upon a convenflonalvocabulary for love poe try" and that "no single phrase can be omitcrt110metaphor relinquished, withou t impairin g the poem as a steadilyLlnlolding process" (p. 1 17). Su ggests that the tone of Donne's prose oftennvokes the Augustinian and C ounter-Reforma tion anxieties attendantpon recalling ma n's physical decay, disease. death , and depravity' andhat his prose style "is characterized by open -ended coordi nating coniun c­rons that pile up ph rases as if into lim itless expanse" (p. 119 ). Brieflyraces and comments on Donne's critical reputation from his own time tohe present and lists ma jor edi tion s and bibliograph ies...~ 789. SELDEN, RAMAN. "John Don ne's 'Incamationa l C onviction : "CritQ 17: 5;- 73·Discusses Donne's "m ixed style" in the light of Erich Aue rbac h's accountof the Christian mixed style and suggests that metaphysical wit "mayIt: regarded as the effect of incongruity and of paradox wh ich resultsrT1 the clash of the sublime and the 10\\; an effect which had alreadyn implicit in early Christinu literature, and which becomes the focusf J distinctive new style in metap hysical poetry" (p. ; 7). Argu es that. ifrat reader is prepared to read Do nne's secular poe ms for thei r deep structurcsrather than settling for thei r superficial structures. th en it can behoy, 11 that many of the poe ms "turn upon one tran sformation or anotherf his incanuuiono! co/lvictioll" (p. , 9). Shows, for example. that

'The Extasie" is an anti-Platonic poem and that "the metaphor of in ,nation is structurally determining at the deepest level" (p. 64) when tillovers decid to return to their bodies so that love may be manifestedothers. Finds transformations of Donne's incarnational convi tion at"1\ Va lediction: of the bookc,' "Aire and Angels" "Loves growth." and ~Valediction: forbidding mourning,' all poems in which spiritual 10\'manifested through the body. Notes that "The Dissolution" and "A 11turnall upon S. Lueics day" both "explore the spiritual effects of bcreavmcnt in highly corporeal terms" (p, 68); that "The Primrose" presenrestless intellectual search for an adequate psycho-physical medium, Iwhich love may inhere" (p, 69); and that in The second A71/1h'ersarie" himage of the word incarnate is clo e to the surface" (p. ( 1) a DOlpraises Elizabeth Drury for figuring forth divine beauty. Acknowlcdgthat not all of Donn e's poems depend upon a transformation of hi' in Inational conviction but maintains that in many he present: "an explior implicit critique of Platonism and Word-Flesh theology" (p. 70),~ 790. SERP Jl~R1, ALESSA, DRO. " ull'uso del madelia cornunicativo npoesia di John Donn e: The Funeral! e The Relique." SeT 9: 2308.Approaches text unalysi: through semiotics to demon trate relationshibetween "T he Fun crall' and "The Relique." Comm ents all the pres 11of both thematic and structural parallels and indicates that I oth pocontain and constitute a "signal' to be decoded. Constructs doublemuni cative models for each poem to demonstrate parallels between titromantic interplay of sender and receiver of the message codified in Iwreath of hair and the interplay of wit between pact and reader-recipiof the poetic message. Rejects critical interpretations of either j)O(!11Irepresenting Platonic love and points out erotic implications ofboth iand communicative proces , whether desire is acted upon or maintauat a subliminal level.~~ 79 1. HAABER, M. A. Check-list o{ Works o{British Authors 1'ril/Abroad, ill Languages other lluni English, to 104 J. cw York: '1Bibliograph ical Society of America. xx, 168p.Lists two work , by Donn e (p. ,6): (1) Conclaue lgnaii. '/lle eiunupetis itt[em! comiiiis inthronisato .. . l , er l11an~ ' ? after 16 1 J] and (Problematorum miscellan eotum antaristotelicoru m, centuria. dimldial.. . a Ludouico Rouzaeo . . . Lugduni Batauorum, ex officina Code nBasson ... 1616.•~~ 792. I\II1'H,:\. J., ed. lohn Donn e: TheCriticai ll eritage, (Theical Hcritagc Series. gen. ed. B. C. Southam.) London and BmlRoutledge & Kcgan Paul. xvii, 51 I p.Presents critical commentary a ll Donne's poetry from his OWI1 timthe 18Sos "to show what people have made of Donne's poetry over SC\(l

I xl 'C3 and how opinions of it have shifted in that time" (p. xv).ude general discussions on metaphysical poetry only when Donlie isII l1H.:d 'I .cifi cally and includes comments 0 11 Donne's prose only11 thcv relate Lo the poctr '. Introduction (pp, 1- : 8) survey. I onncs. 1reputation from the ,cvcntccnth through till:nineteen th centuries.out that hi poetry \\ s IIOt widely read in hi own day and hatI littl c' idence to how that he Icd a new poetic rnovern nt in theI vcnteenlh century, Oi cu. c the appearance of Donne's poem. In11 ript collection and ill collections of manuscript miscellanies asI as references to them ill printed books. Notes, however, that "forthan thirty years following the first publication of his poem [I Blnc' uprcma yamong "ngli h poe wa. generally acknowl d cd" (p.lit thal 111 tile 1660 and in the following three decade hi poetrybecome a mere curio ily which the amateur might indiflercntly pa­I is Jr discount" (p. 1z). . uggcst that by the early eighteenth centurynne \\' a ~ n dead issue. a historical specimen only. and no drurnatictua lious of his fortune were remotely in prospect" (p. 13). pa rtly he­, re l.iliv I)' fc\\ reader knew his poetry, or if they did, they knew onlyor . Slin ey Or. John on's critical e luation of Donne' poetry andludc th,lt Johnson' greatest di ervice t I onne i that "he reducesn ' poetry to wit and wit t a random trick of tyle" (p. 17). ome.tcnsively on the role olcridge played in reviving interest ill [ onncg crtui u important nineteenth -centu ry writers and evaluates the im-111 .e of neweditions of and selections from Donne's poems, csp 'd allyrl' e lition of 1 7:, hut notes that throughout the nineteenth cen­Itt rea tion to Donne wa quite mixed and that he wa not widelynd J knowledged. omrncnt al 0 on I onne' reception in Arncr-11 J Ing III particular the critici. m of James R IIS, ell Lowell. The mainI divided into three major sections: seventeenth, eighte 'nth, amite nlh centuries; each separate cntrj is inlroduccd by and COIllnedlIl1 by the editor. "T he Seventeenth cnlury" (pp. 31-1 63)

count in dictionaries and encyclopedias, both English and foreigntotalof 49 entries. "T he Nineteenth Century" pp. 26 1- 4(1 ) Ii I crib,commentary on the poems from 1795-1 796 (Coleridge' notebook1889 (a letter of Sarah Orne [ewetl), including anonymous review I 11fi rst publication of "Loves \Varr" (1802), comments from and on varioeditions and selections of the poems published during the period. unreferences to the poems (such as George Eliot's usc of Donne stanzachapter headings in !vIiddlellwrch)-a total of 1 10 entries. Append..(PP. 492- 94) lists publications of Donne's poems from 1609 (the lirst stanof "The Expiration" in Fcrraboscos Ayres) to 1912 Sir Herbert Crier ontwo-volume edition); poems reprinted in miscellani . arc mentioned Ithe main text bUI arc not listed in the appendix unless of ,pecial imlance. Appendix B p. 49 5) lisls poems by Donne known to have beento music down to the nineteenth century (from Ferrubosco to BrowninSelected bibliography (pp, 496-(7) lists chief works that list refe renceDonne's poetry or trace the currency of his p()ems. Two indexer (pp. ;1-'19~ 11): (1) Donne's wrili ngs and (2) gcncral index,~ 79 3. SI'ENKO, JAME L. "Circular Form in Two Donne Lyrics,"13: 103- 7·otes that George Puttenharn in The Arte of English P(}e~; C! ( I:; dicus:es two methods of composing a spherical or circular pattern poem trequire. a distinctive ordering of subject matter bul docs nol requireshaping of its typographical design. Suggests that Puttenharn' .ec Imethod of moving from outward statement to central point to outwstatement again is the structural principle behind Donn e's "The Undertaing" and "/\ nocturn all upon S. Lucies clay" und tha] ill the proce1 onne also exploits the symbolic meaning of the circle in tile two poemShows how the structure of "The Undertaking" reflec t it content ,111how Donne "has composed all exaltation of spiritual love within a ithat represents the highe I manifes tation of the spiritual" (p. lo6l--theircle-ancl how the circular form of "A nocturnal! upon . Lucies d."represents eternity and everything that is spirituall ' lran .cendent"thus "supports the feeling that there may be a new beginning at the t:lof the poem rather than a futile return to the old one" (p, 10 7).J•~() 794 . STULL, W ILLIM,! L. "Elizabethan Precursors of Donne's ' Di \'JIMeditations." Comitatus 6: 29-44.Argues that various techniques employed in the Hal)· 'oll/wls me foshadowed. in varying degrees, by English sonneteers from Wyatt 011\ '3Tespecially by Elizabethan religious sonneteers uch a Barnabe BamHenry Constable, and Henry Lok, and suggests that recent criti hl!paid attention too exclusively 10 the meditative tradition and have dcounted the literary ancestry of the poems. Comments 0 11 Donne's cxpirnc nts with the rhyme scheme and structure of the sonnet to .how 11he is in the mainstream of the English tradition that continued Wynl

imcntation . I i. Cl1S.\C the four-pari tructurc and dramatic metalIII "( my blacke oule!" and points out similarities between it andk "1 Illstl" O1 m accusde." C oncludes lhat in the Hall' Sonnets Donn eUri( rigi;lal in everything hut genius" and that " t h~ fourfold logicalI ture he II es with such cfiFectiveness originated with Wyatt' lranslanof Pctrarch ami was transmitted to I onne by

a selection from Sermon LXVI alon g with "A Hyn m c to God the l-athe(pp. 24- 26) to show that. although both "express the same emotion. lhl."ulti mate. self-destructive fear that he has 'fallen out of the hands {If thliving Cod" (p. 2:;), they differ in their uses of rhetoric and tone. Commeuts also briefl y on Donne's pun on his own name in the hymn ;1Il~suggests that there may also be a pun on Ann xlcre in Donne's me of thword more. (2) Places together two dream songs by an American !lltli:1I1Papago. along with select ions from "On h is Mistris" and from ChrivopherSmart's He;oice in the Lamb (PI'. 170- 72) to show that, altlmugb "Illarc no dream-songs in English:' the three p as~agcs "have somethingofthsame m ixture of sim plicity and symbolic mystery" (I'. lTd. ( ~) Reproduces together "/\ Spell to Destroy Life" by an Ame rican Cherokee Indianand "T he Apparition " (PI'. 174- 75) to suggest that, although 0 0 11 l1e\ III'cantation in his poem "docs 110t go quite as far, and perhaps it i~ mOTliterary than literal:' it is, nonetheless. like the Indian incantation. "flehcreeping enough" (p. 17 ~).'4~ 798. T RAtrI"MANN, jo." l\'NE, AND CAROL POll.-\RO. cds. Utcfl1lurt! ilndMedicine: 'fopit's, Titles. and Notes. Hershey, Pa. : Dcpartmcnt oiHumanities. Hershey Medical Center. x, ::!09p.Annotated bibliography of literary works related to medica l topics, \\Illra topical index. Lists fifteen annotated items by Donne (pp. l i -18poems and prose works that treat sexuality and sex roles, suicide, the hoddisease and health, doctors and the medical profession, death, aging, Iltxhmind relationships. grief, madn ess. homosexuality women as healers. ,1Mvene real disease.'4~ 799. W.-\Ln :R, JAMES. "Donne's 'Holy Sonnet XVIII' and the Bmlof C h rist: ' Innis{,,'!' 2: 4- 7.Presents a line-by-line reading of "Show me dearc Christ." i'\olc~ thaIthe question s posed in the sonnet. "although expressing the agulIl/.1I1doubt thaf is part of the search for religious truth, express more slgnt flcantlyDonne's indirect criticism of certain recur rent religious atliludt'i'and that "rece iving the brunt of his criticism is that attitude which litmauds ration alistic purity in all matters of worship and doctrine" (p. .jSuggests that the epigrammatic closing couplet of the sonnet implies Ih:ILullthc precedin g questions should be answered affirmatively and that Donneargues, therefore, that the true Church "is for me n everywhere" andthat"like the C ity of G od describ ed by SI. Augustine, she remains constautl'open' to all lovers despite tilt' bickenngs of those who would poss(,'~s 110privately" (p. 7).'4~800. \VASAM .... KER. i\ IELISSA C, Disoordia Ccncors. The \Vil of \ft'l,ph)'sical Poetry, (National University Publ ications: Literary Coilcism Series. gen. cd. Joh n E. Becken] Port \Va ~ hington , N.r. ;mlLondon: Kcnnikat Press. x. 1661'.

f19--] - /)~ 171 iploys the philo- ophical concept of discotdia concors as a mean. 0J:uning wit in the poetry of Donn e, Geo rge Herbert, Hem)' \':llIghan,drew Marvell, and Milton. Distinguishes two types: (1) unity iu rnu l­n!lclty ami (z) a violent yoking of opposi tes. Maintain s that the metasial poet "found the philosophical cone 'pi of discordia concor a amg of opposite expressive of their own disturbingly di cordant w rid"1 l. Although I onne is mentioned throughout the book. Chapter z.hn Donne. Yoking of Opposites" (pp. q- ~ o ) . is devoted exclusively to1 attempt La rc 011 ile opposites. I otes that "Donne's secular I rics mayh. ps be best characte rized by discordia conco rs. wherein the poe t atpI.to reconcile oppo ites, especially thos of body and 0111" e ll c andn .. and that. "when uch oppo ite meet, however, they either cia. hI nih and re i t rc e lution. or they achieve a paradoxical re:olutionmuI tr n cendcncc of the body" (p. 14), Di.ClI. cs "' 111e Darnpc." "'Ihea:' "Love. Alchymic," "Aire and Angels," "The Canonization:' "Theudc rtaking," and "The Extasic" to show lhal the wit of these poems "mayhuraclcrizcd bv the mann er in which human love itself reflects a ki ndd,.cordia concors, a harmon y of di sonant emotions" (p. 19). Maintain1111 the devotional poetry. . uch as "A ll ymne to Chri t. at the Authors'DIng 11110 ermanv," Donne "employs c/i cordia concors not merelymirror the harruo n iou: tension between contrarv emotion. . but to bed\ narruc m ean of tr:1I1 lating the earthly into an apprehension of thevcn lv" (pp, 19 - z0). Notes that "by th time Donn e was composing hisi ~.metaphor had cha nged from its traditional role, in which iL dressedI cpts with words. to one in which it dressed words with concept." (p,1 Briefly com ments on Devotions upon Emergent Occasions to iIIus-I how "in mctaph ' i al verse the conce ptual and divine metaphor metebetween heaven and earth " (p. z ~ ) and presents an analysis of themversaries to show that "by changing fmlll an earthly to a divine perlive.the two contraries, heaven and earth, arc yoked together" (p, I )nl Ihat Elizabeth Drury herselfbecome "the divine mediating metaphorlinks with con. iderablc difficult the extremes of heaven and earth", : ) Note. thai later metaphysical poet , unable to effe t oncord inI onnean mann er. "deal with a discordant world in way quite foreignJohn Donne" (p. 36). Compares and contrasts Donn e in . ubscqucntmptcrs with Herbert (pp, '37-39, 49- 50, 5,), Va ughan (PP· 5--56),lnrvell (pp. 71- 73, 90-91, 97) and Milton (p. 98) and snuuuurizcs theiff; TCIIC ' among them (pp. 125-27)., I WRI GHT, ivIARGA Rc.,·, "Donne' Book of Stars." Communicalion.f niver ity of Ma nchestcr ), - ovcmber, pp. ZQ-z 1 .rib, a hitherto unre-corded book from Donn e's library that wavcred in the John Ryland Library, a firs Ledition of Johann Kepler'sleI/a /Jova (1606) that contains Donn 's . ignature, motto, and marnal[oltings, Notes that in a marginal note in his Biathanatos Donn e' IS to the book and comm ents on Donn e's interest in astronom y and

c pecinlly his familiarit with Kepler's works. Di .cus es the po iblc Inifi a nce of Donner motto. "Per Rachel ho crvito e non per Lea," \\' 11he borrowed directlv from Petrarch . Points out that in medieval vrnl Ii J11 Rachel often st;JOd for the contemp lative life and Leah for th ~ ctnlife and suggest: that Donne. \ ho wa so fully involved in the [I live limay have chose n the motto as "an admonition to him elf, not , Iaffi rmation of hi natu ral inclination" (p. 21). Reproduces the litl pathat contains the signature and m otto,1976'~ {J '0 2 . A IZAW,\ . Y OSIIJlIISA. "Keijijoshihin to lihon-e-Oboegnki'T lhMetaphysical Poets in English- 1 otc] in Keiiijoshi Ke/lk[Metaph ysical Poetry tudies], pp. 243- 49. 'Ibkyo: Japan Societ17th-Century English Literature,I iscusscs the interest in and study of the metaphysical poets ill JapanAppends a bibliographical listing of [apanese books and articles and rcviews on metaphysical poets from 1927 to 1975 (pp. 1-32). All a V :lIl,I~1196 - 197 Donne items nrc entered and anno tated in this bihliogrnph •~ {J I ox. ARA KAWA, Mrrsuo, Shillp ishiso to Keijijoshiiillfa chi j\' ly ~ t jThought and Metaphy: ical Poe ]. Tokyo: Shohakushu. 20W.[ i cus cs Donn e: mystical thought and hi attitude toward .od- 5- 2) through an anal ysi of a number of hi religious pectus. espccmllseveral of the 1101 , Ollllets, "Cocdfriday, 1613. Riding Westward:' ,Hymne to hri 1. at the uthors last going into crrnany," "The \nnUItiation and Passion." "The Litanie." La Corolla. and" \ Hymnc to ,the " ather." tress that Donne' mystical attitude i. fundamentalChristoccnl ri and that his religion poems arc dominated by the 1111.1of lu i t as avior, Follows. for the most part. the view of ltrat llusain Tire Dogmatic and M -stlcal Theology of fohn Donne (London: II ew York: Th Macmillan Co., 193 ).•~~804. A Ylt F ', PIH LlI' J. "Donne's 'The Darnpc,' Engraved Hearts. anthe 'Passion' of SI. lure of Montcfalco." ELN 13: 173- -.Points out that the image of a woman's picture in the lover's heart n"The Dampc" probably C,1Il 1C from an image in Serafinos Strainhotto 1:1)Noles that crufi uo. and perhaps Donn e, may have had in mind the I rof St. larc 0 Montefalco. whose heart was said 10 bear [ormationChrist's Passion. I lore that Anthony Mu nday in Englisl: R Oil/(] 'ne 1.1(1582) reports on a visit to Montefalco and that Donne, with his interin relics, may have known of the famous shrine and its aint.~ ') l 5. H,\ 'URACil, A. . H. "Constantiin Huygcnss cquam mce II1 onn : A Note on Evidence and Con jecture," in Neetland!J\ lanu icriptu: Essays Presented to C . I. ieftillck, edited hI I

Bihliograph}' ofCriticismCumbcrt and j. M. de Haan. ~ : 1 1 1- 1 . Amsterdam : L. vanCendt.Di cussc the personal relation hip between Donne and Constanti jnu eru ( 1 -q6- 163/). the Dutch pod-diplomat and fi rst translator of fournne's poem into Dutch (1640). Presents autobiographical evidencehm tht Huygen "knew Donne personally and knew him well" (p.- ) 1 ote that when he wa eighty-two year old. I-l uygen apostroizedDonne a "Thee, greatc t Donne, I I place thee before all other.andivine, be t Orator. I Fir t of all Poets: 0 to how many of your words.Iho e golden word ', have I Ii tened. I ttcred among friends or fromIt: pulpit . . . " (quoted on p. 11 6). Suggest also that the inscription 011e flyleafof the copy of Biathanaios cnt to Huygens by Donne the youngerI 164Q indicates a genuine friendship existed between Huygens and Donne.ores that, at hi father's cxpli it request, Lodewyck Huygcns, thc poet'sn, visi ted Donne's tomb in SI. Paul's in 163Z.'4~ 80G. BEALE. W ALTER HI. "On Rhetoric and Poetry: john Donne's'The Prohibition' Revisited.' QIS 62: 376-86.Disagrees with Th omas O. Sloan's interpretation of "The Prohibition."pecially hi attempts to correla te the structure of the poem with Rarnisthetoric("A Rhetorical naly is of John Donne's 'The Prohibition,''' QJSlQ62]: 3 - 4 5. reprinted in The Province of Rhetoric, edited by )0 ephh\ rtz and John A Rycenga [ cw York: Ronald Pres , 1965 ], pp. 5z ­• and in Rhetorical nal -ses of Literary Works. edited by Edward P. J.rbett lew ):o rk; Oxford nivcrsity Pres , 1969], pp. 3- 15). Argues thathe tructure and the meaning of "The Prohibition" are derived from themmon Renai.. ance rhetorical figure of "dilem ma" or "horned argunent'and how how thi cia sical and Rcnais ance rhetorical device inrm.the poem. rguc that the third .tanza is an overturning of theument of the poem. not a conclusion to it. as sugge ted by loan.laintain that the poem may be a burlesque of conventional love poetry:educed to absurdity and fi nally deflated altogether in this poem is notmerel y the conven tion or the lover's dilemma, but also an entire poetic1.Inguage, embodied in the extravagant metaphors of conventional Renai.ancc love poetry" (p, 386). lotes that Donn e partially parallels thelogic of the poem in "1\ burn t ship" and compares Donne's uses of dilemmain "T he Prohibition" with Spenser's use of it in Amorelti, XLII.~~ 80 7. BEAVER. lOSEI'll C, The P ro.~od )' ofJohll Donne. [Chicago: s.n.]v, I4ZP .Pre cnts a detailed linguistic analysis or Donne's rnetrics that is. in part.ed upon the metrical theory of Halle-Keysor. Discusses such issues asnere i or mu ltiple po ition occu pancy (pp. - 48); diaeresis (pp. -l9­0); other aspects of position occupancy: zero occupancy and ext rametrial"liable (pp. 51- 53); trcs promi nence in Donn e (pp. 54-5 ); lexicalin Donne (pp. 5 - 72): IJICcompound str rule (pp. 73- 2): phrasal

tre s (pp. 3- 10 ); con tra tivc stress in Donne (pp, 11I-I , ): and metnstatistic' in Donne (PI'. I IG-:q.). Appendix A (pp. 125- 27) prescn ,formal urnmary of rules for DOI1I1C' mctrics; Appendix B (p. 12 ) II'some unmetrical lines in I onne' poetry; Appendix (pp. 12 9 -~6 1 0sample scan ions; Appendix I (pp. 137-39) is an index to titles of P0(;IT!cited (based on The Complete Poetr» o{/ohll Donne, edited b ~ ' [ohn IShawcross [19671); and Appendix [~ ( pp . q O-42) lists references.o . BERRY. B YD I I. Process of peech: Puritan ReliglOlJ \\ TIll IIand Paradise Losi. Baltimore and London: Th e [ohn ll opkin lll1­vcr it)' Press. xi, 30.1' .Chapter 13. "Two piritua l Autobiographies" pp. 191-210). cornpand contrast the theolo y. p .ychology. religious ell ibility. and tvleDonn e and John Bunyan. a reflected in Devotion ' upon Emeroentcasions and Grace AhOlwding to lire Chief of Sinners. lotes that "tilidiosyncracies of these men. of thciI' spiritual dcveloprucut, and (If tllclIworks" clearly "prevent us from labelling them Puritan or Anglican Inneatly partisan term." (p. Hp). Mention Donne throughou t. COil raDonn e' religious sen. ibility to that of the Puritan and pre en • I' 3(hof ",\I the round earths imagin'd e mel's" to 'how how [ onne brintogether "Puritanic" e chatology and a personal ens of sin. \1. (I d ­cu. se: Donne' use uf the circle in Devotions upon Emergent OCCI1 1011and in "Hyrnne to Cod my Cod. in my icknesse."~ '0 9 . BROADBENT . JOli N. "Conceits and consciousness."TLS. 16 lull.p, 8/3.Reviews Anne Ferry. Allill War witl: Time: Love Poeir»of 1CIkespL'tlfDonne, lonson, Matvell (entry ,.n). and Dwight nth art. DouhllllConscience: Donne and the Poetrv o{ Moral rglll1lcnl (entry - p l. Qution. the value of new commentaries on Donne' poetry: "I In not c ­vinced that we need another publi. lied rehearsal byan individual 0 11 DUlin'The anonization' but if sn it had better be in term that generate fu rl)ideas,",~~ ' 10. ALLA RD. J li N, comp, A Catulogue oi prinied hook (fm-I- Jill the Library of I . George's Chapel, Windsor Castle. (Ilistori .1Monographs relating to SI. George s Ch apel, Windsor Castle. \ )15 . ) Printed :1I1cl publi .hed for the I can and anons (If 'I. GemChapel in Windsor Castle by W . Maney and . ons, Huds II HLeeds. 2 zp.List five volumes by I onn e: ( l) the 16 40 edition of LXXX SenllOl( 'TC 70 3 ): (2) a 1611 copy of Ignatius his COIIC:ll1rc sure 0 2-1:another edition of lgnaiiu his Conclave (16, 5) ( TC 0 30 ); (4) copthe 16'" edition of [uvenilia (. T 7043): and (,) the 16:;4 editionLetters 10 everall Persons o{Honour (Wing D 1 '6; ).

~ 1 1. CAMERON. AlU:N BARRY. "Donncs Deliberative Verse Epistles."ELR 6: 369-4°3.rovid es n context for and an analysis of a group of seven of Donne'sliberativc verse epistles to show their intrinsic merits as epistolary poemsI to demonstrate that "an understanding of thc rhetorical conventionsthe ver e epistle. renders the poems immediately accessible" (p. 370).11l11TICnls on DOl1 l1C's altitude toward the letter and maintains that henot simply regard it as a " elf-contained literary artifact, created merelyI aesthetic contempla tion withou t ends beyond itself" bul rather a "aIII 'ulady valuable means of human discourse- a rhetorical structure that'1 be in fact, by its very existence. both a literal and symbolic witnessI eetion between the writer and recipient" (p. 37 \ ). Centers attentionII seven deliberative epistles that were "written in three overlapping rhenI traditions: the epistolary. the epideictic, and the paracnetic tradi­II ~ of oratory and literature" (p. 372) and that concern the values of selfkl1wledgc, the wisdom of virtue, rind the inner life: (1) "To Sr Henrylton: Sir. more then kisses," (2 ) "I b Sr Henry Wolton: Here s no morewe .," (3) 'T o Sr Henry Coodycrc: Who makes the Past," (4) "To Sroward Herbert. at [ulycrs: Man is a lumpe," (5) "'10 M r R. W : If, asme is." (6) "To Mr Rowland Woodward: Like one who," and (7) "To Mrman after he had taken orders." Argues that the verse epistle is "theI en ional poem par excellence, for it enables the poet simu ltaneously tork the occasion with propriety ami to transcend it with freedom and inther occasional poetic type can the poet be so unrestrainedly discur­Iv " and thus the form is "a particularly useful medium for the presenta­1 n flf tentative conclusions, for arguing rhetorically, that is. on the groundsprobability, and for charting the letter's own thought processes" (p, 402).\ 2. HAM B E I~ LA I , J"'li N S. /ncrease and Muftipl)': Arts-o{-DiscoursePtoceilure.in the Preaching ofDonne. Chapel Hill: The Universitvof North Carolina Press. xvi, 197p.I I ell :C ' "the several most notable procedures in the chu rch's preach­11 J tip to the time of Donne for developing a scriptural text into a dis­If c by relating doctrines of the trivium with particular theories andhnique for homiletic invention" and then analyzes sermons "to illust• tc how these principles work in practice" and "to accumulate a critical'1 cabular ' with which to discuss Donne's sermons in terms of the trnd i­n upon which he drew' (p. xiv). Divided into two major part ': (I)It' Artsof Discourse (pp. \ - 91) and (2) Donne's Preaching (pp. 93-1 58).hapter 1, "Crarnrnar" (pp. 3--1-3), discusses the basic principles of the artliscour e "as formula ted in treatises on the subject and as assumed bylhe ancient commentators" and discusses St. Augustine's views on lanage.their relation to "his procedu re for exegetical invention that he setsIII III De doctrinaChristiano" (p. xiv), and their influence 0 11 earlymedievalpcaching, Chapter 2, "Dialectic" (pp. 44- 66), discusses the divisions ofI text prescribed in the am praedicandi of the medieval schoolmen and

the dialccti a1 doctrine that informed their procedures of invcnnon anillustrate their practice by analyzing part of a sermon by . I. Bonavcntuon Psalm Ion: '-10. Chapter 3. "Rhetoric" (pp. 67- 9 1). discusses Rella,sauce treatises on eccle. iastical rhetoric, cspeciaII , William Perkin " r~Art of Ptophecving ( •ngli h translation. 1606 ): urVCY the cour c 0 PIc tant preaching of the Engli h Reform ation: and analyze Perkins'mon on ~ I. tthcw ~ - 7 to iIIu Irate the Puritan method. of di CI ursc hDonn e likely heard and later reacted against. Ch apter -\. "Procedure" Il95- 10 l. hows that Donne's procedure for developing a text "were :'Ido)Iin reaction to Puritan reduction by topical logic and were drawn ill 1"1from the palristi and medieval practice of taking up • cripturc gramruatically" (p, 10:). a position he .harcd with the High Church. Chapter .,"T he crrnon" (pp, 109-:;4). discus e how Donne develops a scnptur 1te .t into a sermon; note that characteristically "the division of the le '\­the poinl at which the words of Scripture are made into the strucliuthe preacher's discourse-is set out in the divisio of each sermon' aile! th, tthis structure is then "fi lled oul by grarnrnatical means of niultipl 'in!:tilsignifi cation and consignifications of words" (p. xv): and annI. zcs in ell'! IIDonne's sermon on Psalm p :1-2 as an example of his characterimethod. onclu:ion (pp. 1; --; ) umm arizcs the main points of thtud: am) stresses I onnei preference for patristic and .ch lastic art .di.course procedures. Maintain that Donne "docs not unravel III Ibut complicat 's it by his reading" and "does not reduce the ,en from UIverbal medium but lets the meaning of the sacred words realize it I(p. 1~ 7 ) ' Note (pp. 16 1-77 ), bibliography (pp. 179-92), and index p193- 97)·~~ 1" , LE:-'IE I • ROBElrr J" A I D LoR..""" L EVAN1 . cds. I emIl 11Letter ; Revelation« of a World Reborn. Edited with introducf Jcomm entary, and translation h ~ ' Robert J. Clement. and Lorna Iant, 1 cw York: New York University Press. xxvi, 468p.Antho logy of Renais:ance letter with a historical . urvey of th de Ioprnent of the epistle (pp. ix-xi v), Reprints two 1 tter by Donne (\ Ihcadnotcs and explanatory notes): (1) a letter to Sir Henry Wollon C'Iin which I onn c cxpresse his annoyance with Dante for havi ng ndernncd POp L: destine to Purgatory (actually Dante condemns himHell) (pp, 79-80): and (2) a conciliatory letter to Sir .corge More (February 1( 0 2) ill which Donn e asks his father-in-law to approve uf lumarriage (pp. 4 1~- 1 6) ,~ ~ 14 . I Aim . ROG 'R A. "The Structura l nity of 1 onnc' .ture pon the Shadow' .. The Nebraska English Counselor 21, I2 : 15-1 ,Discusses the closely knit structural unity of "A Lecture upon the. lindand demon strates how its "almost mathematically proportioned" (pp 117) tructure reinforce the erious argument of the p em. Outline I

BibliographyofriticismI • argument and comrncuts 011 thcmati and metrical patterns, espe­II.' noting 1 onnc's skillful II 'C:5 of spond e to em hasize Illa'or dent. Point (Jut that the poem consi t. of twenty-six line , which rna)'rent twenty-six wee ' , or one-half year, and uggests that "the pri­('\ ob erva tion to make, if u ch structu ral sp culation were true. wouldthat the end of [unc marks the midyear, dividing it exactly in half" and.11 "what Donne may have intended, therefore. i the sugge tion of theand t 'noon' of all-the IIm11H.'r solstice-s-in an attempt to lend to hisept of mature love of IIIid-life the nobility he thought it de erved"I l15. D AVIIJSON, ALAN. "An Jxford Family: 1\ Footnote to the Lifeof John Donne." RccusclIIt /l istory 13: :l99- 300.ot sever.!I po.sible Recu ant connections for John and Henry Donnehile the. were students at ll art Hall, Oxford: ( I) their father's sister wasII anicd [0 a Recusant, Robert Dawson , who kept the Blue Boar on thecorner of 51. Algatcs and Bl ue Boar Lane, lind (2) their stepfather, Johnyminges, was acquainted with Roger Murbcck, son-in-law of Th omasilliams (and perhaps with Williams him elf), whose son, Alexander. rantar until I Goo, Iotcs th,lt Marbeck and John Donne went on theadizexped ition together in 1596. ate also that Th omas Williams's sonlid namesake was one of the: first Engli h [csuit . Concludes that it islv that John and Henry "knew that one of their uncle' fel low-]e uitI a brother-in-law of one of their t p-father' colleague. and his family, r n ighbor to their aunt and uncle at the Blue Boar. and. given that\ ledge, almost certain that they visited the tar" (p, 00).16. Do. 'I. , JOIII . fohn l anne, Kettering, l ng.: J. L. Carr. 18p.itcd in Briti h National Bibliograplt ·, 1976. Vol. 1: ub jcct C3t­111:. p.

pericncc, he sets up tensions hard to resolve" and concludes that "it rbecause "Ihe urine Rising' celebrates Era. as a true Immortal that it haa real. as well a rhetorical nomen e at the heart" (I'. ! ).I • Eunsn, m. "L'irnage de repine dan la poe ic 111 taphsiquc anglaise: "xcrgue ct analyse," in Etudes anglo-america;"PI'. 11-3;· (Annale: de la Iaculte des lettres et sciences humaincsNice. 1 .) Pari ': Minard.Di cu cs the wide-ranging u e of the figure of the thorn in po 1notes it. appeara nce in rnelaphy ical poetry, but warn. that it i not fomwith obsessional frequency in metaphysical poems. j lutes briefly DOIlIIuse of the image in his verse epistle "To Mr Rowland Woodward: Like: 011who:' in which he "met en relief Ie cote corrosif et infecond de des pmatiriques- ... oil uous sornrnes incite adcvenir Ie ..Icrrnicr de nournerncs-" (I'. 26). Notcs that "l'irnage dc cclui qui laboure COll\'CII. IIrnent son champ cl qui acquiert des fruits pour l'etcrnite est SOll V III Iprise dans ICl Bible" (p. ! 6).V!l " 19 . EI.- ABALAWY. SAAD. "Aretina's Pornography and Rcnaissnn• atirc." BRi\lt\·/Lt\ 30: 7-99,Comments on how reli ne's notorious book, Bagionamenti. uu rl IIIsonnets, I onneiti Lussuriosi(with their accompanying pictures ufse .u Ipo ition de igned by uilo Romano and engraved by Marcantoni I Imondi ) became "fun tional a a medium of social, moral. and poluisatire in the later Renai sauce" (I'. 7) and show that ~ n g l i h Jimoften refer to Aretino and hi ob ccne manuals as a way "to I11C.1I Ireputation of literary cncmie or in moral and political iatire to lihel IIRoman .atholics. condemn the Italian , expose the Ii cntiousness 0 '0life, denounce the infulne of the Ae h, or reveal the corruption () hman nature" (p. 99). Point ' out thai in Ignatius hi Conclave Donn , IIIMachiavelli. Aretina, and l. Ignatius a. "a triangle of evil" (p, 9 \ ) .m I"models of depravity, villain)', unscrup ulousness. and political cxpedi '11placed above morality" (p. 9! ) and also comments on I onnc' refereut Aretino in a leiter of 1600 and in atyre IV. where tit allusion funtion "as an emblem of vice to exhibit the pact's 'loathing' in h i ~ expo urof sin" (p. 96).~ .:; 8! 0. . "A rclinos Pornography in the Later Rcnaissnn 'C " " ~1~ : 97- 1 1Comment on the reaction of Engli h writers during the sixt cnih.cvcnteenth centuries 10 the works of rctino, e p cially hi HCl Innmenti and I onneiti Lussuriosi, which were regarded a. pomngrapl"perhaps the firs t of their kincl in Christendom" (I'. 97 . Call. I om"Coi ng to Bed' and Carew's "A Rapture" "Engli h cquiv lenls-\ 1111ob ccnc word -of Arctino' anne!" (I'. 10 ). Iotes, ho wever. tb tatyre l\ and in Ignatius his Conclave Donne "echoes the rnor I pi

13ib/iograph" of CriticismJ \ of his day about the Ita lian 's pornography since they serve his purosatire" (p, 108). otcs also that in a letter of 1600 Donn e makes aisapprovi ng reference to Aretina. Argues that "no! even Donne, in hisI ~ l intense momen ts of passion, has celebrated sex in the uninhibited1O11l' terms of [Carew's] '1\ Rapture' " (p, 117).':!l. ELLlO'I1', EMORY. "T he Narrative and Allusive Unity of Donn csSul)'res." JEe p 75: 105'- 16.Argues that Donn c intended all fi ve of his satires to be read as a whole.t atvte III erves to focus attentio n on the central ethica l and religionmeaning of the entire collect ion, and that Donne employed conventionsnarrative ;1I1d formal struc ture found in the classical and Renaissanceaditions of atire to un ify and deepen their mean ing. Points out thatnne u e biblical all usion s, especially to Matthews account of the Serm11 Oil the Mount. to focus attention upon the theme of his fi ve poems."providi ng them with an und erlying unity and en hancing their dramaticwcr" (p. 110) and providing; a "key to the internal conflict of the peakertonist whose moral development the poems trace" (p. lOG). Suggestlilt ,til five poems, taken together, "present a probin g examination of thedea l of Chri .tian charity as a fundamental princip le for a life of sociallinn and reform " (p. 106 . Also suggests that the experience of the peruparallels Donne's OWIl search for all acceptable vocation ill which helid exercise hi Christian ideals. Notes that, "from a moral standpoint,tilt poems arc about the dilemma of the Christian humanist," but that.IUIlI a literary standpoint, they arc about llic prob lem of satire a a poeticrot" (p. 110) that would accommodate the C hri tian ideals of charity.rough a reading of the fi ve poems shows that the persona finally aban­Io ns the role of satirist, deciding that he can have little effect on a wicked\' rid in that role. and finally chooses to become secretary to one of theu en' most honored servan ts. a role in which. withou t deserting hisligiou and ethical ideals. he can redress wrongs and engage in constructivesocia l action and reform . Concludes, therefore, that in the Salyres.nne "appears to have left us a partial record of his search in the forma ollcetion of poem with unified narrative structure enforced by thealitallusion" (p. I 16).22, ELLHOD"!'. ROBEH"!'. "Le Iabulcux et l'irnugination poetique dansl'oeuvre de John 0 0 11 0

326 . [ 1976}foilII DOlinIe doute que le partagc entre Ics deux" (p, 146 . Maint t ill that, althollgthe fabulous in pires interest in Donne's poetry. it i not the center ofintcre t.'

nrc. \' OClISCS on the issue of how one can judge the effectiveness and/orsucce: of a poem that trigger, very disparate responses.; Z-. FRIED tAl , Do. 1\1.0 M. "Thoma Adams and John Donne."f&Q n. . Z' : 22

of,II DmTIIexpanded by it-love incrca e ~ on love, and therefore complete love .111be added to unto infi nitv yet the addition is [u t a differcnt way of (' p rc~ ­ing what i: alrcadj there, one tage being no less complete than hat \ 11 IIollows it except in degree of manife.ration."~~ ' 31. C HEENFIELD , Co, 'CE1T A C. "Principle ' of Coherence ill I IIscr an d onne." I ' I I : .P 7- 3 .Discu.sc the structural coherence of I ann e's poetry based 011 If', "(IP'crativc content" and contrasts Donne' principles of coherence \\ilh hnarrative or Ari totclian coherence found in Spenser's poetry, ununanzand finds wanting basi trend of much traditional criticism of Dunu 'poetry and argues that "the identification of the type of colter nee ch. racterizing a poetical composition i. fundamental for differentiating podlcal schools" and that "the consideration of other clements as the so 'I ·dpolitical. economic, ctc., the themes, the imagery, etc. wi ll enrich auunderstanding of poetical language but are not suitable as tools for din: rcntiating poetical languages from each other" (pp. 437- 38). Points outthat much early criticism of Donne failed to recognize that lns po mwere structured on a pnnciplc quite different from the one: undcrl IIISpenser' poetry. Presents

Bibliogmphy orCriticismays that "The good-morrow" is "the one great mornin g after the weddinnight poem in our lang age" and yet notc that "it peaks with adeeply troubled mice. for all it~ verbal dexterity and fa hionable wit" (p,:! 11 ). PI' cuts a psychoannlytical reading of thc poem in which the speakeridentified a ' Donne him elf, the person addr sed is hi. wife. and thcrural onA ict is Donne's fear that hi oncne s with his wife will be deroyedas was hi ' on nc.. with the ther omnipre.ent woman in hi life.111 mother. For example. read:; " .uck'd on countrcy pleasures" (line 3) aA cting infantile dependency and suggests that the major conflict in thefirst tanza i "that that early paradise of oral contentment must come toI n end for all of us, but not a a sudden break though, but with a seric ofbreaks whereby the mother removes het child fro m her nurturing teat" (p.:6 2). Reads stanza two as Donne's insistence "on his 'oneness' with hisI vc in defense against thc prccnriuusncss-e-thc possible transience- ofthai oneness" and "on the freshness ami reality of that love to try to di. tinguishil fro II I that formcr bond whose conclusion, he fears, it may bedoomed to repeal" (p, 2(3). Reads the third stanza as primarily Donne'strategy "to persuade the one he i. addressing- and himself-that theirrelationship'. ideality removes it from the realm of danger and vulnerahil­11r whose continually echoing precedent has been set in his infantile ex­I riencc" (p, :l6·t.). Notes that in the conclusion of the poem Donne breakshe fulfi llment of hi. wish by replacing the earlier image of resurrection11h a conditional hope for loves Oil en and immortality.~ ~ ~4 . IIAYt\, KEJ [ Il l. "Hito to hizen to hinko: John I onne to DylanThomas ni Furcte" I ~ Ian. aturc, & Faith: Poem by John D nneand Dvlan Th oma...I, in K iiiifulr i Kenl: ·u. pp. 1 :q - , . Tokyo: [apan.o iety of 17th-Ccntury English Literature.omparcs and contrasts "/\ noclurnull upon S. Lueics day" and Dylan1 romass "Ceremon y After a Fire Raid" and suggests that both poemshave the common theme of reeking salvation in the world of medievalatholicism.'-:1l~ , 5. I-lESTER. M. '1'1101\1 .S. "John Donne's 'lI ilI of Truth.' '' ELN 14:100-105.Argues that "the spiraling motion of the mind of the pilgrim. as a ontmstto the rectilinear movement of the adventurers and arnorists whichhe poet ridicules, is the most significant feature of Donne' image" (p,100 of the Il ill of Truth in line ' 79- 4 of alyre Ill. how how thcdiction, yntax, meter, and rhythm of the lines reinforce the image-emblrn. Examine the image in the context of the whole poem and suggestshat "the circularity of the progress around the hill in combination witht gradual rectilinear movement up it by the pilgrim reproduce thairral motion which an icnt, medieval. and Renai sance philosophy alikeI lineated a emblematic of the rational soul of man" (p. 101). Points outiking irnilarities between Donne' image and one used by Petrarch in

fohn Dorlll 'his "Ascent of Mont Ventoux' in Le Familiari (Basel. ),8) ).. uggthat, altho ugh Pctrarch may not be Donne's ultimate ource, Pctrarch'usc i "one of the most famous examples in the Renaissance of the arti Itapplication of a traditional motif' (p. 104 ). Notes other pas iblc ourcas well. such a. -latthew :) :?,-) , and Dante. to name but two. trthat "it i as a Chri tian humanist concerned with what man can IanIshould) do to save hi soul that Donne writes" (p, 105).~~ 36. ( ' 1111, /1 - , a UKK "John Donne:' in Eishi 110 sekai: rikai tkallshii [T he World of English Poetry], pp. 163- 65. Tokyo: Daishukan.Contains a translation of "Death be not proud" in Japanese along witla very brief introduction to Donne's poetry and notes on the sonnet..~~ 837. K EMP ER. SUSAN C. "Donne's 'The Extasie,' 6," E X(JI H, ii: :?,­3·Reply to Charlotte Otten (entry 685 ) and to Claes Schaar (entry 493)Maintains that, when ( anne mentions "balme" (line 6) in "The Extasie,"he is referring to perspiration, not to plants. Suggests that "thence" (lin '6) refers to "our hands," not to "A Pregnant banke.' Paraphrase' the liuto mean that "the sweat from the lovers' hands cements their hands. 'veilas the beams from their eyes thread their eye .. (p. 3).~ .. .. . KER lODE . FRAN K. ND A. J. SMITH. "TIle Metaphy ical Poe ,in Enol; h Poetry. edited by Alan Sinfield, pp. 54-72. ( ussex Book.London : us ex Publications.Reprinted: 1976.Reprodu e a eli eu ion of the metaphysical poets between Kermodand mith tilken from recordings of an unscripted talk. The peaker 1­tempt to define the nature of metaphysical poetry and discu the umilariticand difference ' among the various poets. Smith tend to ee a comman mode of apprehension. a shared sensibility. as uniting the poetwhile Kerrnodc stresses the individual differences between Donne, llcrbert, Vaughan. and Marvell. Discusses in some detail "Coodfriday 16 1 ~Riding Westwnrd" and "1\ Valediction: of weeping" but also mentions man)other poems, especially "[calosic," "Womans constancy," "Aire and Allgels,""Hymnc to .od m), Co d, in my sicknessc,' "A nocturnall UpOIl SLucies day," and "T he Extusie," the latter of which Kcrrn odc say' "is no:to my mind a very good poem" (p. 58).~0 ' 39. KRONENFELD. JUDY Z. "The Asymmetrical Arrangement rI onncsLove' C rowth' as an Emblem of Its Meaning." CP 9: no2 : ;.,-- .\ rgue that the a ymrnetrical typographical arrangement of "Lovgrowth" into three group. of ix, eight. and fourteen line re pecti c1~ (.lfound ill th )6..3 edition, ill some of the manuscripts, in C rier on's ) 111~

[ IC) 6] 331edition, and in Clements's edition) "bears out (1 logical parado x on whichthe poem turns, and thus provides

[19 6J 'o/'1/ 011I11Imen can one . ummon lhe cornpas ion and care . . . neces arv t all \ Ithe wrctchednes of the human condition" (p. 130 ).•~~ _p o LEWALSKI. BARBAR,\ K. "Donne's Epidci ctic Persona ." Q t195- 2 0 2 .otes tha! I onne wrote a wide range of epideictic poems-e-ve PI~ Jto male friend and 10 patronesses and ladies of high birth, cpitlu lamiu,funeral clcgi ,and the twoAnnil'ersaries- and maintain that "tli ' 'II.eem to display a dazzling array of personae. in an amazing dh e , 11\stances toward audience and subject. nicely adjusted to the litcrar) .11111pe rsonal requirement of specific occasions" (p. 195)' Argue that "if Ifocus upon the diversity of stances and roles in Donne's epidcicnc p -rnwe might well argue that there is a distinct persona for each individ ua]poem" but lhal "if we respond to the unmistakabl y Don ncan voice, \' 11and energy which almost all these poems display, we might conclude 1"there is but one persona who plays, as literary circumstances dictn lc, ,Iduzxling variety of roles" (pp. 20 1- 2) . Surveys the cpideictic poem, all 1concludes that it is possible to discriminate "a few very fundamental rsonClC accom modated to Donne's specific genre requirement, somwhom assume for different poems quite different stances and roles" (p202), . uch as the familiar friend, a city wit. the Spenscrian Hymen pnldio« the private man, and the unworthy praiser of women. h \\ ~ tha mthe Anniversarics, however, onne created his most complier ted ,111complex per IlIIU, one "who fuse into U . ingle self the manifold dim Iion of publi teacher and preacher. rhetorical and urgical anatomi~ losaic judge and prophet, hymni t. meditator. spiritual pilgiirn. trumof doom and of spiritual awakening. and apocalyptic proclaimer of a IIrevelation" p, 202). For a repI '. see Michael Smalling (entry -~ )~ ~ 43 , Low, ANTIIO 'Y. '"I he Co ld in 'Julia's Petticoat'; Hem k ,IIIDonne," SCN 34: - 9,all. attention to a po ible parallel between Herrick' metaphor II Iin "Julia', Petticoat" (lines 1-10) and Donne's image of gold in "A \ 'i Icdltion: forbidding rnoumin ." (lines 2 1- 24 ), Notes that Herrick's p J(;1I1 L'LIIIboth the words ail")' and expansion and suggests that perhaps Hemmaki ng a double allusion, comical! . contrasting both the creation (:-IS LMartins gloss on expausion sugges ts) and the airy, expanding souls of n OIllI(l'lovers with the situation described in his poem. For a reply to Low's intprctation of the image of gold (but with no reference to the possible unnection between Herrick's poem and Donne's), see J. Max Patrick 111 •34 (1974): 89-9 1: and for a reply to Patrick. see Low in eN ,6. IlIl(1976): 9·~ ~ 44. I IcfoAlu.MW. RON Ll) Eo "T he Rhodian Colossus ill Rcn Iancc Emblem and Poetry." EM 2 - : 1 21- 34.I i cu res various emblematic and poetic u c 0 the Rhodian olll

during the sixteenth and seventeenth centuric and mggests that in thepo try of I onnc and Carew "the pictorial tradition of the Colossu duringthe Renaissance achieves its most extravagant development" (p, 134). Noll'.that Donne puts the Colossus into a context that "allows for sexual orerotic implications" (p. 131). For instance, in "The Perfume" the Coles­'us "fi rst receives some genuine metaphoric extension" and is made torepresent "an obstacle to sexual indulgence" (p. 131) and "a guardian oflove' port" (p. I p l. In tvletel7J ps)'chosis (stanza 16) Donne's description ofthe aphrodisiacal mandrake as a Colossus "suggests undirected sexualityor cI mentaI libido" (p. 1"2. )1.'~ 845 . MA UI ~R. MARGARET. "John Donne's Verse Letters." JvlLQ ., :2.34- 59·Discusses what Donne considered appropriate to the form of the versecpi tle and applies this information to his more problematic works in thatgenre. Suggests that, if one reads his epistles to the Countess of Bedford ,for instance, "as examples ofa genre Donne practiced with deliberate art,"then "much that readers have found puzzling or shocking makes sense asn extension of hi characteristic method" (p. 2.35). Maintains also that.ince the letter typified for Donne the problems of decorum, "an undertandingof how Donne proceeds in a vel' e letter may illuminate his methodin other occasional writings" (p, 2. 35). Comments on Donne' theory andpractice of leiter writing and stresses that his verse epistles are highly eon­'elOUS literar I productions, not simplystraightforward statements, and arcusually intended for a wider audience than merely the person imrnediatelyaddressed. Discusses how Donn e typically develops and projects a'pecifi c speaker in his epistles that is consistent and appropriate to thecca ion and 10 the person addressed. Examines early, middle, and lateexamples to show how Donne "develops and lISCS the images of himself\\riting the poems" (p. 2.43) and hov he "proceeds in terms that hi renderarc expected to recognize" (p. 2. 59). Suggest that in the verse epistles"thedramatic self-presentation that render a love poem so compelling i , ifanytlung, more accessible" (p. 2.59).~ 846. M ERIHLL, T HOl\'!AS F. Christian Criticism: A Stud)' of Literary'Cod-Talk. Amsterdam: Rodopi. 20 1p.Chapter 9. "The Sermon as Sacrnrncnt" (pp. 159-77), first appeared as"John Donne and the Wordof Gael" (entry 33). Chapter 10, "PerforrnativePreaching' (pp. 179-95), argues that. since Donne saw his preaching"not primarily as a rhetorical but a kerygmatic act," his sermons "comprisea tern of utterance committed to doing rather than saying" (p. 1 9).Pre en a detailed analysis of the "God-talk" content of Donne's sermonpreached at t. Paul's on Christmas evening of 1624 and shows how thetru ture of the sermon "necessarily varies from the structure of the disquisition"(p. I 7) and how the sermon "virtually manipulates the devoteeinto a state of consciousness receptive 10 all awareness of the presence of

334 • ! lC) 61 Johll DOlI/IGod" p. 1(4), Concludes that the distinctiveness of I onnes prcacluntyle does 1101 result primarily from hi unique personality nor frrnu 11literary ingenuity but com ' from his ability to pre cnt "a well-Inn noning, superbly-rendered ad-talk" and uggests that "our rna t fruitful avoproach to the celebrated enigma of Donne's sermon may be imp" tunderstand them not a . specimen of religious art. but as religious 1I1 ~11 I'mcnts, that we become. in a word. 'worthy hearers'" (pp. 194-9-).~ .. 47 , MIl.LlC" ·. IIIRLEY. "Two elegies on the death of Donne.' II rr·mathena 1 20 : 2:;-29.Compares and contrasts Carew's"An elegy upon the death of Dr. f)OIl IlC,Dean of Paul's" and Henry King's "Upon the death of Ill)' ever-desiredfriend , I actor Donn e of Paul's" to show that Carew's elegy i a first-rutfuneral elegy that effectively comments on Donn e's art and, through imilalion, display I anne's art for the reader's appreciation, while King's l'legy is a weak poem, either because King "lacks the perception to discernthe clements of Donne's style or simply docs not have sufficient skill ;15 animitator" (I'. 25). Concludes that Carew "created a major critical pocnthat can stand alone a. poetry on it very real merit " and that. "styli h·cally, his elegy i a fine tribute to Donne, and a far more knowiug onthan King' " (I'. 2 ).~~ -1- . MIlJ , C RD N. "The lonrational," in Hamlet' Ca II . ,."Stud}' of Literature a. Social Experience, pp. 19-- 22 . ('I he I arDan igcr Publication eries.) Au tin and London: niversity of·It:X.1Pres"Presents a reading of "The Canonization" (pp, 2 1 1-16) to ho. Iii II anne' intention "was to capture in artistic form the generally eXIX TIenccd fact that the relation. hip between exual and divine love or ambiguou " {p, 2 J6) and not to present a logical description of a proces: hwhich sexual intercourse actually leads to canonization. Maintains titthe logic of emotion in the puem "is not ,omehow mysterious and foreignto the thoughtful mind" but "is understandable, even if it i not logical inthe same war that arithmetic is" (p. 2 16 ).l'vII Lw ARD, PETER. S. J. "Kcijijogaku to Mci 0 " [Mctuphysrcal•~ 849.Studies and Meditation], in Keijijoshi to l'vleisoshi [Metaphysical Poctryand Meditative Poetry] , edited by Peter Milward and honosuke1 hii, pp. 3-3 . 'Iokyo: Aratake.Tran luted into japanese by Yamamoto Hiroshi. Discusses the inlluencof the tradition of el i 'cursive meditation on seventeenth-century I ·. n gh ~ hpoetry. including Donne's divine poems and love poetry,~.. - 0 . Mn.w RD, PETER, S. J.. A, n SHOo0 UII.r: I HI!. "John n 1111no cinaru ann r Hyoshal.cu" [Commentary on John I nnc', IlcJ

A BibliogrClIJh )' ojCriticismSo nnel.~· ] . EigoS 12::! (1976- 1977): 17- 19, 138- 4°,222-24,413­15. 5..p- +1-: 12 ~ (JCJ77): 21-43·lranslates into [upanese, with historical and critical commentary a ll:l II in [apaue:e (by Ishii) and in English (by Milward), "Annuntiation"from La Corona (pp. 17-1 9); "Oh my blacke Soulel" (pp. 138- 40); "SpitIII my face you [ewe " (pp. :!2:!-2-\-); "I am a little world" (pp. -\- 13- 15);. 'lIlCC she whom 1 Iov'd" (pp, ~4 1-44): and "Show me deare Christ" (pp.! 1 - ~ 3 ) ·'4" 51. :-'1(OInoN. Lg. A B EATIU CE. "The Sea Poetry of John Donne," inThe Illfluence ofthe Sea Upon Ellglish Poetry from tile Anglo-SaxunPeriod to the Victorian Period, pp , 93-98. J cw York: RevisionistPress.Briefly comments on the de cription of the sea in 'T he torrne" andIhe Calrne" and notes that Donne's description of the calm. which madeII en so motionless that neither feathers nor dust would move, so imrcssedBen Jonson thai he committed In memo ry this figure of speech.lule Donne's usc of the sea as an analogy for death in "Elcgic on the1111y Marckharn ", his uses of the whale and sen in several stanzas of Tilel'rogresse of the Soule; his uses of a sea analogy to teach a moral lesson inlus verse epistle "10 r Henry Wotton: ir, more then kisses"; and hist . crences to the depth of the sea in An /vna lomie ofthe Wor/d. Observes1 1111 in Donne's poetry the sea is found mostly in the form of witty analorcthat ":how little or no emotion" (p. 9 ).~~ 52 . l'vl ULLER , W OLFG ANG C. "Die Definition in John DonnesLiebesdichtu ng." Allglia 9-\-: 86- 97.Di cuss various kinds and functions of definition in Donne' love potry,especially as seen in "T he triple Foole," ami relates his tendency1m Mel definition to the argumen tative and intellectual nature of his po­'lTV. Sees the definition of the "I," that is, the character of the narrator, asentrally important. suggests that this emphasis on the "I" refl ects the egocntricnature of the poetry, and stresses Donne's interest in sclf-explora-11011and elf-representation . Point out that Donne often employs the innate "I" definitions esta1blished within the poems as an occasion forexploring the paradoxical relationshi p between lovers,53, 11 HIYA;\lA. YOSIliIO. "Donne no Renaishi to Paradox no Dente'[Donne's Love Poetry 1l1d the Tradition of Paradox], ill KeiiiioshiKellkyO, PP. 59 -82. Tokyo: Japan Society of 17th-Century EnglishLiterature.Discusses Donne's elaborate and functional uses of paradox in the Songsalld Soneis, especially in "The Flea," "Witchcraft by a picture," and ""F laver."54. OVAK, LYN TAYLOR. "Response to C . 1'. Wrights 'The Personacof Donn e's Love Pocms.''' SoQ 14: /79- 81.

John DonneReply to George 1: Wright (entry

A Bibliogra phy o[ Criricistll(p. lop ). Disagrees that Donne's poe m was written for a mock nuptialgiven at the Inns of Court and speculates that it is more likclv an unsucccssfulexercise written to cclebrutc the marriage of a friend , Argues that"Epithalamion made at Lincolnes lnne" should be seen in the light ofDenne's other early poems" in which he oftcn explored conventional genre;in unconventional ways. Con cludes that, seen thus, the poem "helps LISto remember that D0I1 11e's innovative poetry grew out of his imitation ofhis predecessors as well as his rejection of them" {p. l Oon ).'4~ 857. . "John Donne's Versions of Pastoral:' D Uf n.s. 37= 33-17·Surveys Donne's uses of the pastoral mode, from his outright rejectionof it in "Eccloguc," to his half-hearted exploration of it ill "Ib ~ Ir E. C .:Even as lame things thirst," to his genu ine concern wi th it in "The Baitc."Points out that, since critics agree that Donne did not Fi nd the pastoralmode congenial, they often tend to ignore or misread those poems thatcontain a pastoral vision. Arg ues that a study of Donne's pa...toral poems,especially "111e Ba tte." call be helpful in reassessing his attitude towardElizabethan literary traditions and may help l IS "to qualify the converttionaIima ge of Doone a ~ i

'olz n Dorma desperate effort to obtain hi ' lady's Iavors" (p. 2 1). Explain that, in t dof wooing and pleading, the speaker attempts to frighten the mi Ire'S solhnt she will yield to hi desires.~ '60. . " educed by a Flea? Not She!" The CEA Forum.April, p.'hm . how "I he Fica" resemble a miniature drama. Di agree \ '1111those who a urnc that the lady of the poem would be succc sfullv educe Iby the ophistry uf I anne' male persona and concludes that, "if we extrapolalcfrom the evidence given in the poem as to her past behavior,intelligence. and morality, we must conclude that she is a sensible ynunlady. no more deceived by the young man's sophistry than arc the cholarlycritics of the poem, and that he is holding out for honorable marriage.whether with this young mnn or another."'~ 0 86 1. PU I' I ~ , "" HTLE PIHLMAN. "Donne's 'A [eat Ring Sent.''' l ~ xpl 14;ltcrn 44.Paraphrases each of the three stanzas of "A [eat Ring sent" to show hOII onnc weaves numerou arnbiguitie into hi argument. uggcst thnstanza, one and three are addressed to the pre ent ring and tanza h\ II tthe ab cnt lady. Maintain that, "because the great wit of Donne's poetlies in its enigmatic naughtiness, hrouded in a defensible de cnev, it Itill necessary lu determine which of hi. ambiguous term are represent •live of ingle clement and \ hich representative of composite metaphor NFor a reply. .cc Thomas J, Wertenbaker, Jr. (entry 967 ).•~ ~ 6z . R BEff! ', D. H. '''Ju t uch Disparity': The Real and the R p­re entation in Donne' Poetry: ' AB ..p , iv: 99-10 .Attempts to define and explore the gap between the real and the rl:J rentation of the real in Donne's poetry in order to show that Donnc II,much concerned about the epistemological crisis of the seventeenth entury,to explain his lise of unconventional images to examine age-oldalitie , and to demonstrate the cia e. inherent connection between ~Ireal and the representation. Argue that there are "at least three eli, 1111type of relation based on the degree of identity or nonidentity betwc Ithe real and representation in John I onne's poetry" and lhal the ' demonstrate his "recognition of the crisis in epistemology ami hi' attempts locome to terms with just how we can know": (1) "an ultimate dcuiul oidentifica tion, reached after an exploration of the pas ibilitics of identi Ication": ( a) "an imagistic or corre pondential relationship," in whi h "\ rtial identit ' i established": and (3)"an affirmation of identit ' in \ hich Irepresentation i so clo ely akin to the real that any distinction is lost"100). 'ces "i\ Valedi tion: of my name, in the window" as an ixarnpltlre first category and shows that ultimately the poem .ecms " 10 COli · 11the mind can lind 110 ingle image that corre ponds eX:I II ' to an . lU1l\ rsal concept" (p, IOZ ). ees the compass image in "" Valediction: or I

[1976] 339ding mourning" and the overriding conceit in "The Canonization" as examplesof the icco nd category, in which he compares unlike things and"demonstrates how they may resemble each other at some point or points,"and, "though absolute identity of the real and the representative is neverclaimed, we have moved a step closer toward being able to define a universa]in terms of a concrete, a tentative affirmation of the possibility ofgaining knowledge" (p. 103). Sees the image of the phoenix riddle in "TheCanonization," the global and mapmaking images of "The good-morrow"andThe urine Rising: ' and especially the cartographic image of him.elfa. a llat rnnp in "Hyrnne to C od my Cod. in my sicknesse" as examplesf the third category, in which Donne affirm the real existence of univeralsin the mind and clothes them with concrete images that embody their,. ence, j otes thai the three categories arc nol rigidly separated $0 thaionly one is exhibited in a given poem and shows how, in fact, Donneften manipulates the categories, "sliding or progressing from one to another,or placing them in confli ct to see which will emerge victorious, or'implyseeing in how many ways he call balance them" (p, 10;). DiscussesThe FIca" and "Airc and Angels' as examples of this interaction andmanipulation....--: 63. R UFFO- F IORE. SILVLr\. Don ne's Petrarchism: i\ Comparative Vie \l ~ l?Florence: Crafica 'Ioscana, 130P. "Presents a critical rending of selected poems in the Songs and Sonets illterms of their relationship to Petrarchs Canzoniete, defines the nature ofDonne's debt to Petrarch. and suggests ways that Donne deviated from thestyle and love ethic of Pctrarch , Proposes not to showthe direct influenceofPetrarch on I onnc "but simply to offe r a reading of Donne which takesintoaccount one of the most profound and pervasive [iterary forces of theRcnai mnce" (preface). Chapter 1. "T he Unwanted Heart" (pp. I l-Z Z ), isa reprint of "The nwantcd Heart in Petrarch and Donne" (entry 490).Chapter 2 , " onncs 'Parody" of the Petrarchan Lady" (pp. Z3-38). is ureprint of an es: ay by the same title in CLS (entry 4 9). Chapter 5, "Sunnd Lovers" (pp. 70-79), is a reprint of "/\ New Light on the Suns andLoven in Petrarch and Dorine" (entry 695). Chapter 6, "PetrarchanImagery in 'Th e Canonization" (pp. 80-86). is a reprint of "Donne'sTlansformatiou of Pctrarchan Imagery in The Canonization" (entry 864).Chapter 3, "Amorous Aberrations" (pp. 39- 59). discusses the motif of theevil effcc t of love in the poetry of Petrarch and Donne, especially the"amorous aberrations" of excessive grief, perversity, overindulgence, andelf-deception, and suggests that "the negative attitude toward love thatman ' of onne's speakers express. cither directly or unconsciou (y. "i acommon Petrarchan stance, even though anne's loverssometimes .how• pervcr c cynicism untypical of Petrarch generally" (p. 40). DiSCH,ses "/\\ lediction: of weeping," "1\vicknarn garden," "Loves diet," "The Baitc,""Loves Alchymie," and "Farewell to love' to show that "often the idealsand the effects of Petrarchan love prevail in ( onne's Songs relatively un-

John I ol/nchanged" but that "the uni quen ess of Donn e's treatment of these stu Imotif: resides in hi dram atic juxtaposition of Petrarchan ideals to lit realworld. in hi frequent usc of an ironic persona. who seeming" uc ·cp .but mar undercu t Pelrurchan values, and in his making new a sociu i 11or com binations between the world of ideal love and the world f rcalitwhich did not appear in Petrarch" (pp. 58-59). Chapter 4. "DreamMemo ries, and Fantasy" pp. 60-69}. discusses how in "T he Dreame,""111e Apparition: ' and "Elegy X: The Drearne" Donne adapts the Pet ­chan motif of the power of the lover's imagination to his own end. nthat, unl ike Pctrurch, his "night into fantasy do not perpetuate lit irreconcilablechasm between the real and imagined" but rather "he effecb :IIacceptable adjustment of real and ideal. of actual and imagined" (p. (n ).Chapter 7. "Fools, Heroes, and Saints: T he Petrarchan Hope for Fain ..(pp. 88-98), compares Pctrarch's attitude toward fame to Donne's. cspccially as reflected in "T he triple Foole," "T he undertaking," and "TilRelique,' and shows how Donne adapts Petrarchan ideals to his OWI1 cr •ativc purpo ses. C hapter 8, "Donne's Ironic Reversals of Pctrarchau DeathMotifs" (pp, 99- 1°9), examines "The Will," "The Funcrall." and "'IhDarnpe' to show that Donne 's originality in adapting the prcva ling P ­trarchan theme of death resides "in his use of ironic reversal whcrcbv heexplores and reevaluates the nature and effects of Petrarchan lovl" ; I'109). Suggest. that his intention is "to comment inci ivcly on the a P'of Pctrarchan love under scrutiny in a particular poem by the u e of ctension . exaggeratio n. and reversal of stock materials" (p, 109). hapte9. "Donne' Place in the Petrarchan Tradition: A Retrospective Commentary"(pp. 1 10-1 7 ). summarizes the argument of the study, tres mg lhaDonne did nol reject Petrarch but absorbed, adapted. and applied himhis own ends. Presents a reading of "A Valediction: of my name, 11 IIwindow" to show how Donn e assimilated Petrarchan theme lind (!c\ICC:Notes (pp, 1 1 8 -~ 5). 'elected bibliography (pp. 126-28). and index (, p129- 30 ).~ 864. . "Donn e's Transformation of Petrarchan Imager ' ill 'I'hCanonization." TQ 19, nos. 73- 74: 53- 6 J.Reprinted as C hapter 6 in Donne's Petrarch ism: A Comparative Vi II(entry 863), pp. 80- 86.Argues that Don ne's originality lies more in his subtle adaptation, ASsimilation, and transformation of the Petrarchan tradition than in his celebratedrejection of overused Petrarchan clements. Points-out spccif exarnplesof I onncs synthesis and manipulation of several Pctrarchun imaand themes in "T he Ca nonization," especially in the third stanza. otfor example, Pc:trarchan analogues for Donne's use of the taper-fly irnabut tre se. that in Donn e's poem the image "functions as the ha is uf atelaborate defense th e peaker builds to assert the exclusive natur f hlove and how it differs from an irrational , unstable Petrarchan love whu.evi] effects arc grief and self-destruction" (p. 57). Similarly notes that th

\ Bihliograph )' of Criticism34 1phoenix image is informed, in part, by Petrarchs use of the same imagein lhc anzoniere hut stressesagain that Donne uses the image in hi own\ ';I\': "in Petrarch the phoenix symbolizes the hopclcs: cyclical pattern of1m thwa rted love, while in Donn e the image expresses how the loverstnms(:(; 1Il1 the immediately deadening physical effects of their consummatedlove" (pp. 57- 5 ).~ ~ (\5 S, ESI. ROBEHTO. ed. Poeti metaiisici illglesi (XV II secolo). Introduzione.traduzionc e note di Roberto Sanesi. Teste inglese aIronto. (La Fcnice.) 2d cd., revised and augmented. Panna: UgoGuundu Edilorc, xix, 3G3P'Fi rst published in 1961. C ontain several new translations of Donne'spoems: ". ong: Sweetest love, I do not goe," "Aire and Angels," "TwicknarnDarden ," "Witchcraft by a picture," " he Funeral]." "The Darnpc," "T hisi mv playes last scene," "At the round earths imagin'd corners," "Deathbe nol proud," and" h, to vex me, contraryes meet in one." New notesfor the new inclusions, but others only slightly revised. Introductory essay,biblio rnphy, and headnote on Donne un reviscd.~~ 6 l. SATTEHT IlWAITE, ALFlmD 'IN "Donne's 'Th e Coed-Morrow"IExl)134: Item 50.Maintains that the most important aspect of the allusion to the Seveneeper of Ephesus in line -4 of "111c good-morrow" i their awakening.not their long leep, Recounts the legend and sugge. ts that the speaker issayin that to awake to love is for him as miraculou s and wonderful as itmust have been for the young Christians to have awakened to find themelvesin a Ch ristian world..~ ~ tn . SAYA~I A , E r J'ARo. "john I anne no ' Holy Sonn ets': eina ruMokuso." UO!JI1 Donne and the /-/0/)' Sonnets: Divine Meditations],lu Keijijoshi 10 i\Jleisoshi, edited by Peter Milward and ShonosukeIshii. pp. ' 9-8 I , Tokyo: Aratake.Pr sentsa detailed analysisof the 1'101 ·Sonnets a poems of meditation.how how the tradition of discursive meditation is particularly refl ectedIII the structure, tone, and religious sensibility of Donne 's sonnets.~9 68, --- . "john Donne no Slutnen TSlJitoshi Saiko" [john I onnesAnniversaries Recon sidered ], in Keijijoshi Kenk)'u , pp . I I 1-;: . Tok'0: japan Society of 17th-Century English Literature.Reviews various critical interpretations of the Anniversaries and concludesthat fundamentally the poems are a bold expression of the strugglingspirit that seeks Cod's love.69. SCHLI~ I , ER, WI FIHED. "T he Hand of the l o ngue: Emblematic'lechnique in One of Donne's Sermon s." E /1 25: 183-9° .I iscus es Donne's use of the emblematic tradition and the fable in his

John Donsermon on Isaiah 6 -:20 ( impson and Potter. vol. 7, no. 14) to illuslralhi "way of referring to the tradition of emblem. or hieroglyph . hi etended application of ernblcmati exegesis to a scriptural text. and III \\"';)~of illustrating an important point (about the function of the preacher) b,referring to a story popular ill both literary and visual tradition" (p. •8-1-1.Notes that. altho ugh. unli ke the Catholic baroque preachers, Donne donot stru ture his serm ons around emblems. he docs usc them to comrnunicatc with hi. audience. haws that in the sermon Donne "sirespatiul relationship. between parts of the body mentioned in scripture andread: them emblematically" (p. 1oo).~ ~ 70. • ELLIN. PAUL R. "John Donne: The Poet as Diplomat and 1­vine." HLQ 19: 267- r .Argues that Donne played the role of an important diplomat-divin 10the special embassy of lame Hay. \ iscount Don caster, 0 cnt in ~Ia 16.by King James to mediate between Cathol ic and Protestant fi.c tiom 01' rthe COil tended throne of Bohemia and to avert the T hirty Year 0 \\~rB

A Bibliograph}' ofCriticismmeditations" (p. ~03 l , Primarily shows how thepersonae of the verse epistles'are no more the 'real' Donne than those of the love poems" (p . 20 3) butobserves certain important distinctions, Comments on four of Donne'sverse epistles to show that cad i confirms the presence of a persona,''4~ 8i 3, SMITH, HALLE1-r."The Permanence of Curled Metaphors." SR8..j.: 68..j.-9j,Review arti cle of several books 0 11 Donne: (I) Anne Ferre; r\ /l in HarlI'ith Time: Low Poetr)' of Sha!'cspeare, Donne. lo n.~o n , Morveli (entry-41); (~ ) Dwight Cathcart, Dcwbt ing Co nscience: Don ne and the Poetr)'of\fura/ Argument (entry 73 ~ ) ; (~; ) 1\Iichacl i\.kCanlcs, DialecticalCriticismand Benaieeance Literature (entry 767): (..j.) Josephine Miles, Poetry andChange: Donne, A·Wto1J , Wore/sworth, and the Equilibrium of the PresentiBerkelcy, Los Angeles, and London: Univers ity of California Press, 19i..j.:sec also entry ..j.6c; ); (j) John R, Roberts, cd. Essential Articles for theStudy of John Donne's Poctr)' (entry 786); and (6) Thomas 0, Sloan andRaymond B. Waddington. eels .. The Hlletoric ofRellaissance Poetry: From\\'~'lltt to Miltoll (entry 703 ).'4~ 57..j.. S TORIlOFF, CAllY. "Metaphors of Despair in Donne's '111c Storrne'and 'The Calme.''' CP Q. no, z: ..j.l-..j.5 .Suggests that in "The Stormc" and "The Calmc" Donne is not recordillghis own psychological state so much as "exploring the consciousnessof the man without fai th, the man who docs 110t tum to God in times oftrouble," and notes furthermore thai "the trouble the persona encountersbecomes, through the metaphors Donne employs, images of spiritual catastrophesthe person without faith must face: fi rst a destructive turbulence,then a spi ritual stagnation" (p. .p l, Noles that the images of 'T heStorme" "convey a sense of chaos." while those of 'T he Calrne" "evoke asense of loss, of emptiness, inspired by the persona's pervading feeling ofaimlessness" (p. -1-4). Concludes that the two poems show Donne's abilityln depict psychological slates and that his main point is that in times ofstress the nonbeliever "will sec the natural world as a destructive force"while in times of calm "he will lose all sense of meaning and direction"Ip. +II.'4~ 875, STlUt\Cf,:R, G ARY. "Douuc's Religious Per.wmae: A Response."SoQ q : IQI- 9..j.,Reply to Helen S, Thomas (entry 88 d, Disagrees with T homas's appreachof trying to read the divine poems as spiritual autobiography andargues that the reader must "first come to terms with them as estheticobjects" and that "a necessary part of this understanding , . . is the recognitionwithin the poems of a persona or spea ker. some personality-consructdistinct front [ohn-Donne-mau-aud-thiuker" (p. 191), MaintainsIhal the changing spiritual condition of till' speaker of La Corolla suggeststhai the poems arc presented by a pc: r!>ona and argues that the highly

344 • 11976J foh /I Dorm 'or hestratcd and drama tic sonncl sequence formed by the fi r t t\\cI cthe 1-10/)' Dlmets strongly ugge ts " Donne behind the cen 's-an . rli twho I1

h III phra e in Latin ("Jal vitan. ande re mori"), Asks for informationlit th .ource of the proverb, which may be Latin rather than pan ish.- Q TAR U , 1 • \ JA. \ I,\ RI: A. English VI.'~C : Theory and 1/istorv, IDeProprictatibus Littcrarurn. eric Pra tica, 117. gen. ed. . II. vanhooncvcld. ) ' 111C H. gue and Pari : i\ louton. vii, ~ - 1p.Di u. c through induction the theory and hi tory of •ngli h formom IIll: thirteenth to th nineteenth centuries, Mention Donnehrou ·hout. especially in hapter 6. "'I he undramatic Iambic Pentarntr" (pp. 13 -; l, in which variou asp cts of the yllabic and accentualI turc of verse are discu sed, and in haptcr . "T he Transition fromI nbic to yllabics" (pp, 1 3-9 ). in which a methodology is propo ed• r id ntifying the meier f H transitional ver e fonn, Donne's aiytes"p. 1 ; ). Argues that the at '1'1." "arc an intermediary form between syl­I be-tonic and syllabic verse' and defi ne. their meter, "fi rst, by a quantitativc.nmparison of its vcnc structure with Ihc canonical iamb, and sectnd, bya comparison with a speech model of quasi-syllabic verse" (p. 15).how that the poems arc "a t)'pical transitional {ann" (p. (9 ). everalh, rt and figures: 'ce ill particular 'Ihblc q (pp, 2')2- 53). Fig. 10 (p.- I. 'i . I) (I'. 326 . Fig. 22 (p. 131). Fi . 23 (1'· 332 . Fig, 2 4 (p. 33 ~ ),:- pp. r6- ~ 7 ). Fi . 2 (pp. r -39 .• nd Fig. ~ o (I'. H O ."G. o, T EPPER. ~ IJ CH A E L . "John I onue Fragment Epic: 'The P£Ogrcsc of the oul "' ELI ~ 1~ : : 62- 66.\. u that. although The 1rogre o{the oule fai ls to carry out I anne'nnoun ed inten ion of tra ing the progre of the soul among the foremheretic of th world. it conclu ion u e Is that it i a fini hedrk. ate that the soul in Ihe fragment pic "makes fourteen di tinctm wcmenf through all phases of life un three general plane - the vegebl. th animal. and the lunnan' and that it is "last fixed in woman,110 embrace clements of all three plane " (pp. :64-6;). uggc t thatnne ",ccrns confident of the po .m's integrity as a complete whole" andat "the last stanza. written almo t a an afterthought. di tract attention01 the original design of the poem by drawing a moral and t -ing all ther c ding stanza. 10 a commo n theme," namely that good and evil "arer.lntivc, and their lind .rstanding rests with comparison and opinion" andtil t "even though the soul's progress is in lhc direction of evil, we shouldlot assume that evil is inevitable" (p, 266).~ ' I. THOMA~ , liEU,, ' S, ,,'111e Concept of the Persona in John Donne'sR ligiou Poetry," oQ q : 1 ~ - 9.urvey recent criti al approaches to the concept of the p r ona andn or the day "bcfor the advent 0 the persono craze in critici rn.h n Helen Gardner and two and a half cnturie of critic before heruldactually and unaba: hcdly talk ab JU t John Donne. about the author.th poet , or the poet' irna ination, without e ling that they had to inter-

H6 • [1976] }0111l Dorll1pose either a ' peakcr' or a persona between the mun and hi rcligroupoetry" (p. 1 s). Argues that Donn e's religious poems seem "inl n clpersonal, es:cnlially individual, seeking and even begging for activedi\ IIIaid in reaching assurance of iulvation for John Donne" and that thu: 'tinterpose a ' peaker' or a persona between him or hi. soul and 11l(' .device that dilutes my experience of listening to the essence of John Donnattempting to lit himself into the public myth of the age. the rcveulcreligion inherited from the middle ages" (p. 186). Sugge Is that Donn 'revelations of his personal feelings in the verse letters support the n IIi Ithat in the divine poems he is likewise conveying his own personal cxpericn cc and feelings. Finds persona criticism of the sermons more :JCl:CI ~able, for in them one finds a speaker, an audience, and II situation tlmtarc quite different from those found in the religious poems, Concl ud .therefore, that, "if some poems have a persona, others do not to ,IllY si'nifi cant degree"; that "postulating a mandatory persona docs not serve Idissipate the uncertainty, the 'tensions,' of Do nn e's Uoly Sonnets": ril l Ithat in the religious poems "it is Donne's struggle that interests LIS" (p,189). For a reply, sec .ary Stringer (entry 875).~~ 882. THOMAS. J )JIN A. "T he Circle: Donne's Underlying Unity." 10"The Need Be 'rmd Reason" and OtherEssays:College o( J-ILI/ /I(//1I 11Centennial Lectures 1975- 76, pp. 89-103- Provo, Utah: BrighauYoung nivcrsity Press.Discu ses I on ncs fondness for circulari ty and his extensive lise of thcircle ",I an image capable of expressing what is meant by man, the worland the un iverse, 10\'e and the inexpressible expansiveness of DCIl) ~ (( 1) in his crrnons. es ays, letters. and devotions as well as in hi po IArgues that Donn e' usc of the circle a image, metaphor. and \ mbnlreAeet his "medieval-inspired vision of the essentia l unity of Cod and lituniverse" (p, 92) and maintains that "the perfection of the circle all \\Donn e. the poet. to sec C od encompassing the pale of his vallied rctions" (p. 101 ) . ees Donne as seriously commi tted to an ordered, ethi alvision of realit and maintains that by examining his usc of the eirel"one can fully comprehend the serious voice of a Christian pod whpreaches a pervading unity" (p, 101).~~ 883. TJARKS. LAR I~Y D. "Donne's 'Loves Usury' and

\ Bibliugraph}' of Criticism[1976]'upid and call for Cupid's dethroning." whereas in "Loves Usury" hedepose Cupid "by illustrating the folly, .clf-deccption. and comed y of hispersona's war hip of C upid" (p. 213). Argues that such a reading of the:poem would suggest that Donne's other libertine poems and his supposedlyrakish youth should perhaps be reevaluated.~~ 88+ . "John Donne and the Concept of the Persona." SoQ14; ii- iii.Introduces six essays in th i. special issue of SoQ devoted to Donne's usesof pe amac, otes that all of the essays. with some later modification,were onginally presented at an M l.A seminar held in San Francisco on2. December 1975. Includes George T '''iright, "T he Personae of DonncsLove Poems" (entry 90); Lynn Taylor Novak, "Response to G. T Wright'sThe Personae of Donne's Love Poerns' " (entry 8 54); Helen S. Th omas,"The Concept of the Persona in John I ounes Religious Poetry" (entry88t); Cary Stringer, "Donne's Religious Personae: A Response" (entry 875);Barbara 1(. Lcwalski, "Donne's Epideictic Personae" (entry S.p ); and NIichadSmalling, "T he Persona e in Donn e's Epidcictic Verse: A SecondOpinion" (entry 872). In additio n to the cminar papers, includes an essayby Larry D. ' [arks, "Donne's 'Loves sur)" and a Self-Deceived Persona"entry ~ ) . and an original poem by George T Wright (entry 8 9)..~~ 5. '1RAl TER, BARBARA. "Donne's 'Love's Crowth." Expl 34: Item60.Suggests that the final image of comparing increased l ove to increasedtaxes in "Loves growth" stresses "not only the unfl agging increase of lovebu! also the price which ever-increasing love extracts" and notes that "theconstant emphasis in the last stanza on growth, budding, eminence, andaddition suggests not only the swelling of a phallus hut also that of pregnancy,the visible. tangible evidence of love s growth." Maintains that such;1reading fit the tone of the last stanza: "LO\'e is not tatic; it does increaseand, along with its pleasures and heats. it 'gets' progeny which, comewinter. will not disappear, even though the pring \ViII bring tiIl ano therswelling of love."~~ 886. T 1UVED!, R. D. "The Puritan Age; Poetry (1);,. in 1\ CampendiousHistor)' of English Literature, pp, 129-39. New Delhi: VikasPublishing House.Comments unfavorably on the general feature! of Donne' poetry andrnmntains that, although Donn e wa "aiming at originality he ach ievedonlynovelty" (p. 135). Suggest that "Coing 10 Bed" and "TIle pparition"are "in bad taste and show a putrid. not a poetic mind " and asserts thatthe argument of "T he Extasic" is "tortu red into such ethereal shapes thatonly ;J reader gifted with a special sixth sense can grasp them " (p. 135).Dislikes Donne's "unsavoury realism," his "fanaticism " and "coarseness,"

John D OHTIand his "extravagant hyperboles and preposterous conceits" and ecs thmodern interest in I anne as "a pa sing phase" (pp. 1 r -36).~~ 8 '7. W LL. Jom: .. JR. "Donne's Wit of Redemption: The Dramof Prayer in the Hal , Sonnets:' SP 73: 189- 2° 3.Disagree with the notion that the Holy Sonnets present a continu 11.movement by the speaker toward Cod and argues that, in fact. the pea"constantly changes his tratcgy of approach to Cod" and that "he alternatelylaments and a pires, but never rests long in any one 'tanee" tp19 1). ces the movement as circular, not linear, and suggests that thecentral. ubiect of the Hal)' Sonnets is "not a movement of the peaktoward resolution of his relationship with Cod, but instead an explorationof the paradoxes of the Christian life on earth" (p. 191). Attempts to elarir\the various stances taken by the speaker in the drama of redemption. indicates"lite close affinity between these dramatic stances and the variouforms of Christian prayer, especially as they are illustrated in the Psalms"(I'. 19 1) , and shows how the sonnets present Donne's particular Anglicanunderstanding of the Christian life. Analyzes in detail "As clue by l111l11titles" and suggests that it fully "exhibits a pattern of shifting tone :lIIddramatic stance which is carried out in many variations in the succccdineighteen [-/o{)' SOil nets" (p. 194). Shows how the speaker "explores dramaticallythe cornplcxilie and paradoxes of redemption. both in it, gencru l sense as a promise of Cod for His people and it specific sen. C:I anaction which must take place in the life of every man" (p. 197) and dcmonstratc how each of the onnels is "a sharply realized dramati monologuein the Ie ting drama through which the speaker hopes to pas liltthe inclusion in the last act of the salvation history" and that, to, hicvthis end. the speaker "calls on Cod, by assuming several roles idcntifiablwith the live basi types of prayer," and "moves constantly from hop IIICod's promise to despair of his own inclusion, and back again" (p. zoz]~ . \VEL H. D EI NIS ;VI. "The Meaning of Nothingness in Donne'Nocturnal! upon S. Lucies Day" BuR 2.2 , i: 48- 56.Applies certain modern phenomenological inquiries into the relationshipbetween nonbeing and human awareness to "A nocturall UpOIl .Lucics day." Argues that the poem is serious, not sentimental, and that illit Donne confronts, and fin ally transcends, the experience of nothingnessthai lie fell at the death of his wife. ales Donne's precise scholastic ditinctions between being and nonbeing and shows that he "confrontednothingness ,1I1d transcended it through the poem's cautious sensualismits creativity, and its Christian resolution as well as through his life as aclergyman" (p. 48).V!! " 9 . W RIGH" . CEORGE T "M ummy" SoQ 14': iv.An original poem on Donne in a special issue of SoQ devoted tII es of personae.o n ll e'~

Bihliograph )' of Criticism[ 19761349'4' lJO. . "The Persona of Donn e's Love Poems." SoQ 14: 173 -77·'\ rgue that Donne" love poems as a whole are dramatic efforts to expirc he nature of love and that. at the arne time, they present his ownsrsonal experiences of love. Th ough reluctant to connect the poems tocif circumstances or persons in Donn e' life. agrec. with Helen Cardrthat there i a development in his per onae-"from the masterful,rrugant young man about town of the Elegies, through the earlier lyrics'I ver who is partly a 'licentious young amorist' and partly a 'lover whoI VI? \ ithout revvard.' to the more intimate, ubtler, truer lover of the laterII . and onnets who an with tenderness how lov ' as the 'bli:s of fulilhncnl'and agonize over the conditions lhal perpetually threaten it" (p.,-;). Observes that Donn e presents "occasions of passionate feeling thatreflect his own developing sense of love and that express, at a level deeperhun I onne probably had any clear idea of, his own lifelong struggle forharmony" and notes thai "the composite persona of Donn e's love poemsI a strong man in a weak position-our position as it turn out, that ofubtle. pa sionate, energetic suitors in turn irritated, soothed, baffled , andppnlled by women, chan ge, time, death , by the natur e of sublunary exricnce"(p, 176). Concludes, therefore. that the lover in Donne's poemIC, after all. nly virtual speakers, roles that Donne , dopted, masks thatlie put on: but . ince they all use the same idiom and style and see lifeIr 11\ a particular perspective, they arc all also recognizably Donn e. For aplv, ee Lynn Taylor Novak (entry 5-t.).'-C~ 891. \VYKE, CLEI\IE T H. "Edmund Gosse as Biographer and Criticof Dorine: Hi Fallible Rolc in the Poet' Rcdi cover)'." TSLL 17:0 --19,ourvevs and assesses Gosse's contribution to the twenticth-centurv rc-1\';11 of interest in Don ne and in his poetry, Points out that in hi Lif~ andit r. of DOIl /le (1899) Gosse, "in his faltering fa hion, rai cd the torchbrighten the way to Donne's reemergence as a reputable pocl, althoughIt was Grierson who through his scholar! ' and literary perspicacity inrcad the glow of that torch and establi. hcd the public recognition andpopularity of the leading Metaphy ical poet" (p. 0,). Pre cnts a briefbiography of .osse to show how his personal background affected his hi­() n ph ' of Donn e. traces the various motives and steps behind the actualpublication of the biography. and com ment. on the contemporary criticalreaction to its publication. Show. that, in spite of its many factual errorsand iuaccuracic , Gosse's biography presented Don ne to a wide and irnrh1l1tcontemporary audience. provoked cholarly debate about DonneI" man and about hi poetry, made available Donn e's letters and some ofhis heretofore unpubli shed poems, and. at a time when Browning's popllarit~was at a zenith. his comparison of Donne and Browning contribunrnenely to making Donne more acceptable. how also that Go sc:nluntion of Donn e' poetry, though often fallacious and misleading,

John /)01111stimulated critical interest and that "after the evidence wa: heard ami cvuluatedthe Iinnl iudgrncnt was in Donne's favor" (p. 19). Con ludtherefore. that "Co .scs part in that [udgmc nt, though rightly 0\cr hadowed by the , cholarly a complishment of ir Herbert Crierson and (I arldiminished by Co c', own plethora of mistake , is worthy of proper IIIimpartial recognition " (1'. 19).~ .. ooa, YOI' " ICIi, JOB ' 1\1. "Sir Ashton Cokayne Praise. I oun .. atyrcs. ." J~ H~ I.~ 'Q n.s. 2 : -- 2 .l ate that in a poem entitled "To my learned fricnd 1\ Ir. r homas Bancroft"in hi ' Small Poems o{Divers orts (1658) Sir Ashton C ka ' 11(':, snnof Donne' friend. Mrs. Thomas Cokayne, and a minor poet, wi t, ,lilt!playwright. praises I onnc' Satyre: and calls Donne "our prime wit."~ ') 893. YOKOTA, IIUZO. "john Donne no Song to SOI/Ilcl: SOIIO :,kno lchim cn" [John Donn e's Songs and Sonets: An Assessment ofTh eir Literary 'Icchnique], in Keiiiioshi Kenl.:}'li. pp. .F - 58. 'lhkyn:Japan iocicty of 17th-Century "ngJish Literature.Oi.cusses how Donn e's complex and skillful us of a . pcaker ill honss and . unets contribute to the argume ntative and dramatic clem 'Il lin the p ems.19 7~~ 94 . AIi"./\Wt\ , Y : 11I11I A. "[oh n Donne no ' lumen I uto sill' Iitudy of John [ onnc' AlInil·ersaries]' PI. I , Bunkei RUT/SO (I {1I11­mac Daigaku Bungakubu) 1 2 . 110 , 2 (February): 1-14.Part I of a three-part series of article . Tran late: into [npanese.\11 .\ nalomie o{ the World and "A Funeral] Elegie." Contains a general intr 1111tion to the series and to the Anl1il'ersaries. For Part 2, sec entry 97:~~ 95. AnCIIER, STANLEY, "T he Archetypal Journey Motif in DOlinDivine Poem ," in Nell' Essa 'S all Donne, edited by Cary A. Slrin 'pp, 173- 9 J. (Salzburg tudics in English Literature, ~ h z a b cl h , lIc Rcnuissance ! tudics, cditcd b James Hogg, no, 57. Su lzlunlnstilut flir Englische Sprachc und Literatur, Univcrsitat alzburPoints out that I 0 11l1C is the fi rst major English poet of the Rcuaissnu'to write a substantial collection of religious poems. l ~ x a ll1 i n es 1 onn ' uof the archetypal journ ey motif and its associated metaphors. e pecial l Ithe Divine Poems. and notes four major categories: (I) human Ii il •journey toward death . (2) the soul's journey to heaven. (3) Ch rist' 10 tneys to earth. while: on earth. and ultimately to heaven, and (4) ioumcyassociated with the hurch passing through time or with rclisioution. I lotcs that th,lt the motif of tire [ourney is the mo t frequeutl,figure in the Divine Poems yet obscrv that "journey metaphors and I

A Bibliography o(Criticismages are highly limited in tim e and distance, even in the lon ger poem swhich have the journey as the central metaphor" (p. 188). Points out th atDonne's use of the journey motif "as it relates to hu man life is reductive"(p, 189) and "often repre sents either mo vem ent toward that fixed goal ofrest or movement that serves as dramatic contrast to a celebration of religioustruth" (p, 190). Shows that eschatology dominates Donne's thinkingin the Divine Poems and stresses that, "by limiting the possibiliti es of thejourney motif as he doe s, Donne succeeds in creating an intensi ty of tonethat his poems would not othe rwise have" (p. 190).~ 896. ARMSTRONG, ALAN. "T he Apprenticeship of John Donn e: Ovidand the Elegies." ELH 44: 419-42.Argues that Donne's Elegies "admirably support the Renaissance beliefin imitation as the friend of invention" and "though devoid offran slations' or even precise verbal echoes of Ovid , nevertheless, recreate Ovidianattitudes and techniques" and therefore "testify to Donne's discoveryin the Amores, not only of a kindred spirit , but of a valuable textbook forthe poet" (p. 419). Examines Donne's debt to Ovid , especially his adoptionof Ovidian rhetorical techniques in creating a self-conscious persona.Argue s that the Amores "sho wed Donne the way to use the establishedtradition of the erotic elegy as a counter-weight to th e sonne t sequencetradition" (pp. 433-34). Discusses a number of the elegies in detail , especially "Loves Wan," "[ealosie," "T he Bracelet," and "T he Autumnal]."Concludes that the Amores "presented Donne a richl y elabora ted poeti cconvention which he was peculiarly suited to revive ," that "the Ovidianthemes of the Elegies, however, may repre sent an inheritance less importantto Donne than the finer art of the Ovidian self-conscious persona,"and that, although Donne is on e of the earli est and best of English elegists,it is later, in the Songs and Sonets, that he "pushed beyond the limitsof the genre of elegy, while continuing to use the lessons he had learn edfrom Ovid" (pp. 439-40).~ 897 . ASALS, HEATH ER. "David's Successors: Forms of Joy and Art."PPJ'vlRC 2 : 31-37.Argues that St. Augustine's Enartaiio in psalmos served as a ma jor arspoetica for seventeenth-century poets and provided them with a theory ofform and "a system of thinking about the language of religious poetrywhich was particularly appropriate to their own apologetic" (p. 31). Su g­gests that the role of the poet as prophet, announcer, and demonstrator ofthe word of Cod "found its precedent in Augustine's David, a figure wholinked himself, in turn, with both John the Baptist and the blessed Virgin"(p, 31). Shows how seventeenth-century Angl ican understanding of Augustine'sexegesis of the psalms led to "a complex of con viction s about thenature of poetry" (p. 31) and comments, in particular, on Donne's Augustinianviews of the outward voice (vox) and th e inward voice (verbum) asexpressed in his sermons, La Corona , and "Upon the Translation of the

fohn DonnePsalms." Notes how Donn e used the figures of John the Baptist and theVirgin Mary to explain the role of the poet, Comments briefl y on Donne',Marian theology and observes that "poetic form, according to Donne'stheology of art (based as it is in his theology of the pulpit) resembles hyvirtue of its outwardness and Hcshincss the virgin womb in which Christwas conceived" (p. 34). Notes that Mary Sidney ill Donne's poem on 11Sidney psalms is seen as "the type of all 'Successors' of David, making herMaker, 're-revealing' the new within the old song, the verbum in the 1'OX,in a 'forme' that is both 'joy and art'" (p, 36).•~ 898. BAUER, ROBERT J. "Donne's Letter to Herbert Re-Examined,"in New Essays 0 11 Donne, edited by Cary A. Stringer, pp. 60- 3.(Salzburg Studies in English Literature, Elizabethan & RenaissanceStudies, edited by James Hogg, no. 57.) Salzburg: Institut flir EngliseheSprache lind Literatur, Universitat Salzburg,Reads Donne's "To Sr Edward Herbert. at [ulyers: Man is a lurnpe" aa reply to Herbert's satiric "The State Progress of Ill" and primarily as a"cryptic staterncntof the literary ideals to which Donn e himself aspired"(p. 62 ). Sees lines 1-32 as outlining Donne's position on morality; lines33-44 as reassessing the office of the poet; and lines 45- 50 as offe ringpraise to Sir Edward as a fellow poet. Suggests that, like Sidney, Donne isprimarily concerned about the effects of poetry on morality but that hgoes further th an Sidney in suggesting that poetry has the power to redeemthe nature of man, to facilitate his pursuit of perfection, and to correctand restore what was lost in the fall of Adam- rational control and wi ­dom. Points ou t that the ultimate paradox in the epistle is that, thoughDonne attempted to write his theory of aesthetics in verse, "his very compulsionto ach ieve the moment of aesthetic fruition in his verse letter wasprecisely what jeopardized this letter's aesthetic wholeness" (p. 71).~~ 899. BELL, SRILEKHA. "John Donn e: A Symbol of thc Middle Age ,"EAS 6, no. 2: 68-77.Disagrees with those twentieth-century critics who regard Donne as arevolutionary or as a great innovator of sexual liberation and argues thatDonne's love philosophy is basically medieval and, by the standards of hiscontemporaries, reactionary. Maintains that Donn e's allegiance is to thlove philosoph y of the poets of the "dolce stil nuovo," although "his allegianceto that system he hardly dare confess even to himself, for its value.were at odds with those of the circles in which he chose to move, but it ian allegiance that persists everywhere beneath the surface of his verse,occasionally breaking into expression and always supplying the imaginationwith a wealth of figures, images, and conceits" (p. 76), Points outthat Donn e considered poetry essentially a social grace but that his altitudedoes not preclude sincerity. Stresses that in his witty and cynicalpoems Donne "complied to the demands Of the society of gay blades hesought out but below the level of consciousness he seems to have rebelled

Bibliography of Criticismgain t their in inccrity and inadequacy" (p, 7:!), a , for instance, in "Lovitie" and HAire and Angels." Maintain that Donne's attitudes towardI\·C. a ' well as many of his specific image and conceits, arc similar to10SC of the Florentine school and especial] to those of Gnid o avalnti,Guido ,uinizzelli, and the younger Dante...~ coo. I3EVAN. JONQUIL. "Izaa k Walton and His Publisher." The Librarv32, scric 5: 344-59·Oi cu c 'v alton's dealings with hi ' publisher. John Marriot. and later'ith hi SOli, Richard ~vIarriot. 1 otes that Walton's first publication \ a11. leg)' on Donne that he contributed to John Marriot's edition of theoem l16B) and that \ alton' cop)' of the fifth edition of the poems16-0). published by Marriot and edited by Donn e' son, contains. inddilion to Waltoll's corrections, an inscription that indicates that the volme(now at l-larvard University) was presented to Walton by Marriot.bserves that Richard Marriots first imprint und Walton's firstsubstantialublication, his Life of Donne, appeared in the same year as the !CJ40dition of LXXX . ermons and that their association continued for fortyhree'ear . Points oul that throughout Richard Marriots career Waltollook an active, if unofficial. part.~- QOl. I3RO\\'N. t\ ULEY. AND k»..I L. Kt I~IEY . ed , "John Donne: TheBaitc.' " in atire: An Antholog)'. pp. 11 - :!O. New York: ThomasY. rowcll, Harper & Row Publisher '.Reprints "T he Baile" and briefly comments on how it is a witt)' parody)f Marlowe's "T he Passionate Sheph erd lo His Love." Presents a very briefiogrnphical sketch of Donne and says that his satirical verse "is marked\ a jaunty. colloquial tone, far-fetched conceits, clever wordplay, and arilliant display of paradox and irony" (p. I I ' ).'-'-~ 902 . B nC If~I OnE, S AN. " /\ I Tote on the Date of 'The Canoniza­. ,.. I&Qhan. j r n. . 2 4 : 200-20 2 .ugge t that "rcall" in line 7 of "The Canonization" probably refers toKing James l's "ryall" or his more valuable "Rose Ryal," coins , truek in1606 that bear his image. Maintains, therefore, that the reference to lhe.oins suggests that the poem was written after 1606 , Points out that such.1 dating strengthens the possibility of autobiographical references in thepoem and that perhaps the whole poem may be a defense of his marriage.lotes al 0 that the religious imagery may reflect Donne's contemplatingHoi , Orders between 1606 and 1614 and thal, if the poem was written ate a 1606, the peakers reference to hi gaul and pal y may reflectDonne's illnes in that year. For a reply, sec Marvin Morillo (entry 10:!3).V!! ~ Q03, BYMm, I ARGr\RET M. "Poetic Response to the CopernicanRevolution ." Scientific American 236. no. 6: 1 :!0-:!9.Discuss s the impact of the Copernican revolution on seventeenth -con-

354 • [1977]tury poets, including Dunne. Mentions Do nne's possible connection wuT homas Hariot, the first English astronomer to use the telescope, annotes Dorine's scientific sophistication. Discusses briefly the uses of co miimages, allusions, and meta phors in Donne's poetry and prose. Notes Ih.in his love poems "his imagery i almost alway Ptolema ic" (p. 122) . rcomments on how Donne celebrates and Hatters wome n with cosmic r ­erenccs, how his cosmic references in the religious poems become 111 Iserious, and how he laments the breakdown uf the Ptolemaic world vie.ill the Anllil'ersaries. J ote. that the Anniversaries are, in fact. "an inteweaving of the old and the new" and that "at the arne time they lam nthe old model of the uni verse, they carry tlhe reader out toward the unc ,lain bound aries of space" (p, 12 3).~ 904 . C ARLETON , FRANCES B RIDGES. "The Meditative Recitative:' IIThe Dramatic Mon% gue: Vox Hllmana, pp. 61- 71. (Salzburg Stud]in English Literature, Romant ic Reassessment, edited by james Hogg,no. 64). Salzburg: Institut flir Englische Sprachc und Liter til•Univcr itat Salzburg.Discusses Donne's contribution to the tradition of the dramatic monologucand com ments, ill particul ar; on resemblances and differences btween Donne" metaphysical lyrics ami Browning's dramatic monologueAlso cont rast Donne' "dramatic lance" with the more "cultivated implicity" (I', 62 ) of Sidney's sonnets. Points out that Donne's dramatic modis characterized by imm ediacy, a private and personal tone, the prescntation of individual experiences as representative of the un iversal dramalife, dialectical argumentation, realism, an d a sense of play Can id'lbriefly "T he Extasie," "T he Canonization ,' and several of the Hoi , Srm·nets as representative of Donne's connections with monologue tradition. ales, however, that Donne 's arl is "one of personal self- crutiuy; whcreaBrownin g's wider rangc over many personali ties and situatio n reduce IIpas. ibilities of biographical intervention" and suggests that Donne' characteristic"dramatic stance" is, in some ways, "a foretaste of things to cornin the monologue tradition after Brown in g; specifically, the complete]inne r voice developed by joyce and others in the interior rnonologue'Tp69). Claims that Donnc s "metaphysical voice epitomizes the basic ingrclient of almost any dram atic verse from the psalmic ritual 10 the ellipticaldialogue: the perplexing duality of fl esh and spirit" (p. 71).~~ 905. C HAM BERS. A. B. "La Corona: Ph ilosophic, Sacred. and PoetiUses of Time," in New Essa ys 0 11 Donne, edited by Cary i\. Stringer,pp. 14° - 72. (Salzburg Studies in En glish Literature, Elizabethan& Renai sanee tudies, edited by james Ilogg, no. 57.) Salzburg:lnstitut Iiir Englische Sprachc lind Litcratur, Univcrsitat Salzburg.Discusses the historical, philosophical, religious, literary, and espccinllythe liturgical contexts of Donn e's religious poems, such as "T he Annuntiationand Passion ," "T he Crosse: ' "Coodfrida . •61 3. Riding Westward

ibliography ofCriticism 355especially the seven sonnets of La Corona . Explains in particular them plex uses of time in the liturgical day and liturgical year and shows. the liturgy provides poets of the time with a rich source of "meaning­Images for the essential unity of time past, present, and future, imagesich suggest that all of time celebrates, anticipates, even participates inarrival of that which is timeless, images of that which otherwise wouldunimaginable" (p. 159). Discusses La Corona "as a remarkably comeexposition of the themes and images of the liturgical year and day""as a remarkable poem" (p. 160). Points out, for exampl e, how Donnehe third sonnet, "Temple," which recalls a seemingly minor even t inh rist's life, fulfills the intent of liturgy in a most subtle way and, in fact,itomizes the life of Christ between the Nativity and the Passion . Diseshow La Corona "weaves an endless circle of prayer and prai se" (p..6-) and comments on the particular significance of Donne's symbolics of seven, the infinite number..~~ 906. CONTE, GIUSEPPE. "Mistica e rctorica: a proposito di un sonettodi John Donne." RSLR 13: 127-33.Discusses Donne's use of oxymoronic structure in "Batter my heart" asreflection of the conflicting relationship of magic (that is, art) and rnyscismto language. Describes the metaphoric violence of the text as puri--ed by the oxymora of its carnal and sensuous force, but indicates th at.he self-destructive terms in which the relationship with God is fram edre a linguistic representation of the paradox posed by the mystic's ne ed.or silence and the poet's reliance on words. Concludes that the antithesisf mysticism and art is the paradox articulated in the sonnet's oxymoronic"uxtaposition of chastity and rape ..~ 907. COOPER, ROBERT M . "The Political Implications of Donne'sDevotions," in New Essays on Donne, edited by Gary A. Stringer,pp . 192-210. (Salzburg Studies in English Literature, Elizabethan& Renaissance Studies, edited by James Hogg , no . 57. ) Salzburg:Institut fur Englische Sprache und Literatur, Universitat Salzburg.1 otes in th e Devotions upon EmergentOccasions the prevalence of politicalimages and allusions, especially to King David, and also the curiousfear of relapsing, expressed in images of idolatry, that appears in the con ­clusion of the work . Argues that "within the complex structu re of theDevotions there is a strain of political advice which lies just beneath thehemes of Donne's personal sickness and cure and man's sin and salvaion," which "delineates both the general duties of the king and, in itsfinal fear of relapse, suggests the dangers that the 'Roman Church' holdsfor that king" (p. 193). Notes that in 1622-1624 English Protestants weredistur bed by King James I's dalliance with the courts of Spain and Franceand feared that Prince Charles would be married to a Catholic queen.Suggests that Donne, who had previously incurred the king's displea sur eby criticizing his inclinations toward Catholicism, offers subtle advice in

56 • [1977]lO/,ll Donnthe Devotions to the king. advi ing him to be like David. a king obligatedby ,ad to protect his people again ·t the threat of idolatry. •md to save hISpeople from the danger of the Catholic Church.~~ 908. C OUP ER. JOHN M,; AND W ILLIAl\1 D. ivIcCi\w. "Aire and Angels."AN&Q 15: 104- 6.Paraphrases the argument of"Aire and Angels" and sugge ts that the witof the poem is serious and sincere. rgues that the exual connotationsthe second stanza make it clear that the speaker ha. been overtaxed blovemaking, ha: allowed hi: de. ire for his lady to spoil his love. ha foundhi lovemaking inadequate for .uch a de irable ruislrc. . and decides 10reduce her from the level of a love goddess to that of a mere womanthat he can succeed with her. uggests that in the concluding line. of thpoem the mistress is the sphere that the speaker puts on and maintainthat "there is nothin g necessarily profane in dealing thus with love." for"if the emphasis is on the carnal side of love it is because ideal love IllUSwork carnally. Loa" (p. 106). Maintains that the speaker "has gcnuineljsought and fou nd an excellent woman only to be confounded by his pelformance"and that "it is precisely because he values her that he rnus a tthing right" (p. 106).~ ~ 909. CRlJ1TWELL. P,\TIUCK. "The Metaphy ical Poet and Th IfReader. ." HAB 2 : 20 - .p.Discusse the unusually close cooperation required between the rnelaph-sical pact .and his intended reader and argues thai. since metaphysicalpoets intended their poems for a very specific, limited. and. in a cnse,cliti I audience, the modern critic is able "to investigate outwards. fromthe poems themselves, and from them to deduce the nature of the chosenreader" (p, 22). Examine a number of specific poem from thi perspeetiveand concl udes that the mctaphy ical poets seemingly imagined theirreaders to be persons very muc h like thcrnselve. . both in their generalknowledge and education and in their willingne s to accept certain traditionalattitudes. Points out thai the metaphysical poet. and their readersapparently shared a "sort of cia .sical derivativeness" (p. 2~ ) but did nohold with certain heroic pretensions about poetry or ahoul poets that canbe observed in earlier Renaissance poetry. Totes that, although metaphysicalpoets and their readers evince an interest in scientific discoveries andphilosophical speculations of their time, they "never Ihink them of pnmaryimportanee" since the poetry itself characteristically "move thruugla triangle formed by body, .oul. and Cod" and ince. "within that triangleit really did not make .111) difference whether the sun goe. down or thearth come up" (p. 29). Argue '. however. that the metaphysical poetsdid"expect from their readers not only a con iderablc familiarit) with thescholastic method. but a respect for it, a willingness to accept it procedures":"Hence the well-known tendency of this poetry to organize imaterial in the tripartite structure of a syllogism even when the material

\ Bibliograph )'of CriticismH 7I blatantly unth eological" (I'. 30)' Notes also that the learning embeddedin the rnetaphy ical poem is "there if you want to find it or happen toecognize it, but your knowledge is neither a ked for or essential" (p, 33)mce it functions primarily as a vehicle only for exploring the centralconcerns or themes of the poem, Maintains that, since metaphysical poetryis not propagandistic and since both poet and intended reader sharedaccepted nOrJIl Sof morality, the reader is expected and even enco uragedbv the pod to develop 3 sense of deliberate disengagement, an ability "tolet one', moral imagination out for a gallop and not feci uncomfortableIlcrward .. (p. 37).... ~ 1)10 . CUN, AR . EUGENE R. "Donne's • alediction: ForbiddingMourning' and the Colden Compasses of Alchemical Creation." inLiterature and the Occult: Essa ys in ComparativeLiterature, editedby Luan ne Frank, pp, 7 2-1' 10 . (University of Texas at ArlingtonPublications in Literaturc.) Arlington: Th e University of Texas atArli ngton.Argues that "Donne's knowledge and usc of alchemy were much moreentral to both his intellectual ami poetic endeavors than has previously.cn claimed or demonstrated" and discus es in detail Donne's uses oflchemical concepts in "A Valediction: forbidding mourning" in order toernon Irate "how Donne found in alchemical ideology a symbo lic paraigmfo r his creative imagination" (p. 73) and La show how he cmplo -cdhermetic and alchemical concepts "as the central means of integratingnd undcrslancl ing his existential experience in terms ofhis theologiesIgoals" (p. 74). Presents a detailed analysis of the alchemical and numerologicalstructure of the poem to show that Donne "equates his creativeimagination with the Paracelsian archeus and internalizes its force withinthevery poeticstructure of the poem" (p. 78) and argues that Donne's uscof the alchemical cornpa s enables him to unify all the analogies of thepoem. I laintains that "unless one sees the unified alchemical analog,controlling the poem, one is likely to conclude that the poem is ba:cd onuperficial wit" (p. 96) and to fail to perceive that Donne is. in fact, exploringin the poem his own poetic creativity. Argues that Donne "transmutesthe traditional genre of the valediction into a seriously provocativepoem" (p. 109) and that what he is "forbidding" ultimately is "mourningover his love affai r with the imagination because lie sees it functioning asthe Philosophers' Stone in transmuting his existence into celestial gold"(p, 11 0). Concludes that "Donne's ability to project himself into the roleof the spiritual alchemist and incorporate his discoveries into an undertandingof the purpose of his life and poetry uggests his success in rcconcrlingthe di parate aspects of hi life" (p. I 10).~~ 911. D,\NE. PETER. "T he Figure of Lovers' Parting in the'Poetry ofJohn Donne." Patetgon 19: 23-26,Discusses Donn e's uses of the familiar analogyof lovers' parting to.death

lolrn Don1lin hi love poetry and how that the way he employ the analog) fortemporary separation of lovers reflecf "a .ystem of thinking hap db. 111familiarity with medieval theology and modified by hi ' cxpcricn c of I I'as the love between equals" p. 23). Noles, for instance, that til v .argument of "1\ Valediction: forbidding mourn ing" lies ill the partingdeathanalogy established in the first two stanzas: "If, for all the horrors Jfthe body's decay in death, the dying man [referred to metaphorically instanza one] can so calmly accept the parting of body from oul be allhi faith assures him of a reunion, the lovers' faith should enable themso calmly part the one from the other in the a urance of a reunion, if 11in time then beyond time" (p, 24). 1 ate that in" he Extasic" the bodand oul arc described a ' lover. and that the two lovers in the poem "earn"to relate to each other more precirely in the waj body and oul int rioin each of them" (p. 25). uggests that ome of Donn e's notions can Ifound specifically in St. Bernard's commentary on the SUllg o(So llgs andsuggests that the most prevalent them e in Donne's love poetry is preci

Bibliogrdphr ofCriticismbviou Iy ind bled to the Roman elegy. he paradoxical encomium. anti­Petrarclmn burle.que , and nurnerou other blazons, he may have b eninfluenced also by the Song ofSongs (.r l-7. 5:10-17,7=1-9) and by idncv'"What tongue can her perfection tell" in the Arcadia. Note. thathnptcrs 4 and 7 of the Song of Song» contain full-length, erotic hlazon«and that chapter 7 contains a foot-to-head catalog, an order crucial to thewit or"Lovcs Progress," Observes that Sidney's blazon is one of the longestand fullest catalogs of a woman' body ill English poetry and contains the. urn ~ motif that Donne use in 'T he .ornpari on," "Love: Progress:'and "Coing to Bcd," uggests that "'11Ie Anagram" draw heavily un Connentalmodel ", but notes that Donne handle the blazon much differnththan do either Berni or Ta so. Points out that the cornpari on bla­ZOIl. III Robert ;reene's MenapllO/l II 5 91 ma. be a source for "Thornparison." Stresses that Donne "uses literar. models only a a place tobegin. and his wit turns the conventional into something bizarre" (p. :l67),~~ 9 14. I ON E, JOHN. T lie Flea. Design in relief by Willow Lc rge.,uildford: ircle Press. [8]p.Li mited edition: 75 copies.The po -m with C1 design of a flea in relief~ ~ Q15. . Ignatius His Conclave (London, 1611). (The Engli IIExperience, no. 6 .) rnsterdarn: Theatrum Orbis'Ierrarum: 1 orwood.'.J.: \\':llter J. John on. I4 W .Facsimile edition of the Cambridge Univ.rsily Library copy of the firstedi tion of lgnatiu« his Conclave (Syn. l:S.6 1.J 70), with leaf C I from Ernmanuelollcge Library Cambridge (S. 10. 5.93 1 ) and page Bzr from Brit·I h Library ( I II .a. Ia), STC: 70:l7 . No introduction or comrnentnry.•~

oh11 DOl 111 ,Present • chronological li-t of the letters and their known recipicn 0correct the rni directions set out by Donne's on.•-"'! 91 7. I~ ~ · AB LAWY. MD. "Ar tina' Pornography and EnglishRenaissance atire." HAB 28: 9-19.First appeared in B i\IMLA (entry 19): reprinted here with nunmrcvi IOns.~ .. 9 1 . E ·711: - E KER. [o EI' HINE. "Fuga aeculi or Holy Hatred ofthe Wo rlel: John Donne and Henry Hawkins." R ecu ,~alltl /isto,.,' 11-=40 - ; 2 .Compares The fir t Annil'ersar)' wi th Henry Hawkins' metri al "TrC:I·tise Oil the Holy Hatred of the World" that he affi xed as a preface to !lisFlICJa Saeculi: or Hoi)' Hatred of the World. containing lives of 1- /-10/Confessors o( Christ, selected out of SlIndry Authours (16p ) 10 show IlmtHawkins nol 01l\Y echoes the general structure and intention of Donne 'spoem bUI also echoes I onne in specific ideas, images, diction, and cv 11poetic form. lotes that the [c .uit missionary, a contemporary of I onnobviously responded quite fil vorably to Donne's poem and associated Itwith the "coutcmptu . rn undi" theme. Points out that, although Hawkin 'poem i nol remarkable or exciting, it is interesting thai in his efforl\ 10provide English atholics with spiritual reading Hawkins turned to I UI1Ifor a model.~" 9 1 9 . H ,\ LL, 'II J I I\J ~L L. " earching the Scriptures: Meditation allDi.covcry in Donne', crrno ns." in j 'ell' Essay on Donne, editby Cary 1\. Stringer, Pl'. 2 11-3 . (Salzburg ludic in Ell Ii II Litcraturc, Elizabethan & Rcnais ance Studies. edited by james Ho ,no. ; . I alzburg. In titut fur Englische prache und Litcra turniversitat Salzburg.Suggests that in his sermons. as in the Devotions UP UII Emergent Occasions, Donne "approaches truth gradually, exploring both hi. own feci·ings and the word. of Scripture. searching for meaning and praying COlguidance from the Holy Ghost" and that. since for Donne the 'cripillfcs"hold the key to self-knowledge and to Christian truth," he "feci call dupon to act as interpreter of the Scriptures, opening the words for IIIcongregation and unfolding their diver I.' meanings" (I'. 212). Cerumenon Donne'. method of explicating Scripture in the sermon and pre ellexamples of his technique to show that "throughout the sermons nnncmeditative exploration of criptural text is a central rhctorical tcchniqu 'and that his t -le "sugge. Is. rather than public oratory. the publi re- I ­actrn cnt, or al least r '- reation. of a personal meditative iourncv threw Ithe word. of a Biblical tcxt-s-not unlike the record of [oumey recountin the Essa)'s ill Divinit)' and ill the Devotions upon Em rgent c d .~IO"(p. 23; )·

.\ Bibliograph }' o(Critic;sm,~~ 9::0, HARMsEL. IIE.;\lRWI' rA 'I'EN. "The Metaph ysica l Poets of Holland'sColden Age," RNL 8: 70-96.Shows how four Dutch Protestant poets-Jacob us Revius. ConstantiinHuvgens. Jeremias De Decker. and Heiman Dullaert-c-are both similarnd different from the English metaphysical poets. especially Donne. NolL'Sthat "the strong Calvinist-Biblical stream ill the solidifying D ut ch identityf their ce ntury gives the ir ~ lctapbysical poe try its characteristic D utc h­ness" (p. 9::)."4~ qzi . H....rus. T IIOII.IAS W "Alchemical Imagery in Juhn Donnc's 'ANoctumall upon S. Lucics Day'" Ambix 23, pt. I: 5;-62.Argues that in "A uoctumal l Up01l S. Lucics day" Don ne uses alchemicalimagery as a contro lling metaphor for th e creative process and suggeststhat the alchemical sym bolism in the poem "m ay be co nnected toDonn e's psychic vision of his sick wife [as repo rted by Walton)" and thusperhaps "forms all integral part of the poem's inspirational background"(p. ;6). Presents a stanza-by-stanza analysis of thealchemical im agery andsvmholism in the poe m and shows that. just as the alc he m ist must reduc ehis materials to their lowest form before he can ob tain the m agical elix irand must cxpurge from his life all extraneous matter, "so too must th epoet dcstrcv his ph ysical being and reach th e nadir of sorrow before he isable to allain lasting pea ce" (I" ;8). For the poet "the ael of writ ing is ameans to this end; like th e alchem ical process, it too is, in a spec ial sense.J eucharistic celc bration-c-tlw outward and visible sign of an inward an dpiritual grace" (PI'. 51)- ; 9). Shows how in the poem Don ne no t (lillydeals with the immediate occasion but also examines his own and theworlds possibl e deat h and regen eration through the U St' of alchemicalwmbolisrnand demonstrates that "working within thc hermetical macrocosm-rnicrocosmtrope , the poem 1I10\ ·CS through a welter of dialectica lcpposit ions-c-light and darkness. dryness and wet ness. sorrow and joy. lifeand death, sac red and profane love. psychi cal an d ph ysical reali ty. empiricaland imaginative understand ing, medieval and Renaissance cosmology-which,at the poem's en d, ar c projected. unresolved, in to the fuhire"(I" (1I).'~~ 9:n, Hrcsu:n. ;\1. TH OM AS. "The 'Bona Carmino' of Donne andHorncc." HenP (for 1

John Donl/l!i legal as poetry and a social criticism. the satirist' final admi ion of1mown ineffectiveness serves to reinforce what he has been arguing throughoutSatyre IT- - that the abuse of language and law is so widespread thalthe civilizing force of the words of poetry and law have become largelyineffective" (p. z ). Points out that Donne's acrimonio us and somber tone"might be attributable to the poet' actual situation; his own experienc aa recusant and the recent death of his brother for harboring a Jesuit priestarc implicit throughout the poem and explicit perhaps in his reference (illline 10) to the specific tatute from which Henry Donne uffered anddied" (p. z ). Maintains that the Horutian echoes and parallels expandDonne's satire beyond mere autobiographical perspective. "add ancicnlauthority and wi dom to his suggestion that the response of the nation losatiric language is a significant barometer of its moral health" (p. :!C)),"direct attention to the similarity of the condition which the two satiriexpose" (p. 30). and force the reader to see not only the likenesses bulespecially the differences between the two satirists and the two lawyers thntthe' present.~ 9Z3. - - - - . "Henry Donne. John Donne and the Date of 'SatyrII.''' N&Q n.s. :?4: 524- 27.Argues that the main impetus behind Saiyre 11. which is primarily anattack on parasitic lawyers and the corrupt operation of the law and onl,incidentally 0 11 bad pods. was the arrc ·t, mistreatment, and death in I :; )of Donne's younger brother, Henry, for harboring a Jesuit priest, Will iamHarrington. Discusses the recusancy tatute under which Henry wa :trrestedand imprisoned; comments on the mysterious transfer of Henrvfrom the Clink to Newgatc Prison, where he died; and survey DonneCatholic background and connections. Agrees with Grierson and Milgn lcthat Satyre 11 was written in early I ;94. Suggests that the legaI jargonthe love sonnets of Zepheria may have contributed to Donne' de criptionof the corrupt lawyer, Cosens, as a bad poet but that the real irnpelubehind the poem was the death of his brother at the hands of the slate.~~ 924 . - - - - . "'Zeal' as Satire: T he Decorum of Donne' 'a lv r'.~Genre I () ; 173-9+Argues that, although his Satyre« arc indebted to Roman models. 0 01111 'viewed himself primarily "as a Christian 'rcbuker' whose earliert prcc •dents were the Old Testament Prophets" and that his fi ve satires provide adramatic integration of the rhetorical principle of 1(1lI .~ et vituperatio"througtheir portrait of the satirist's gradual realization of the ethos which his agidentified as that of the Prophets" (p. 174). Presents an analysis of the fi ' .satires to show that "to thi viewof the satirist as a 'zealous' prophet Donn ..poems seem mostly indebted. then, especially when they are viewed Inthe particular climate of opinion ill which they were written" (p. 1( 4).Notes that ill the English Renaissance the aim ri nd efforts of the classi ', Isatiri ts and the biblical prophets were seen as coiuplementnrv and p01l1

\ Bibliography of Critici. m [ Iq- - ] .. 1/out h, t, from the time of t. Augu tine the liurch Father. agreed thatanger. "if initiated by a [u t cause, used out of love of goodnes. and hatredofsin, directed ul sins rather than sinners, and aimed at moral reformationrather than personal vengeance. was 'righteous' and 'necessary' " (pp, 183-4). ihows how Donn e's speaker in the Sutytes reflects this hristianconcept of alirical decorum and finally, after much effort. achieves abalance between his hate and love and exemplifies what the age calledhnstian "zeal:'~~ ()2;. HILI.EI{, ,EOf Flmy C. Poems of the Elizabethan Age: An AntllOlo"" London: ~ lethucn & Co. xx, 1321'.In the introduc.:tion briefv contrasts Donne with the Elizabethan lvrid. noting that hi poem -give the imprcs:ion of talk rather than song,hat characteristically I onne take an uncourtly lance and writes withmasculine vigor and forthrightness. and that his poems are marked with astrong personal consciousness. Points out Dunne's debt to his predecessorsin hoth subject matter and style but notes that "his wit and irony archarper and more ustained, his imagery and comparisons more ingcniOUS, his departure from convention more defiant than any other writ rbefore him" (pp. 12-13). Likewi e. contra II I anne' atire with tho c of\ vat! and notes Donne' vigorous and forceful though t, hi arresting imae , and hi. rugged and irregular ver e. Comments on the per onal anddramnti cl ' 11(:nt' ill the Satytes and uggcsts that Donn e's [uvcnalinnallrcr is often tempered by his compassion for human weakness. Reproduces,with notes, " ong: Coe, and catchc II falling starre," "Breakc ofday," "Womans constancy," "The Apparition ," "The broken heart," "Thegood-morrow" aiyte I. atyre 11, and "T he Baite." Selected bibliographyp. 1 1 ; }.~ ():~6. II CAN, Pt\T1U "C., JR, "The Iconographic Background of theFir I Verse of Donn e' 'A Valediction I'orbidding .lourning.' " inNell' E SG )'S on Donne. edited by Cary tringer, pp. 26- +4.( alzhurg tudic in English Literature, Elizabethan & Renai ancctudics, edited by James Hogg, no, - 7.) Salzburg: Institut flir I ~n ­glischc prachc lind Literatur, Univcrsitat • alzburg.Argues that. althou gh Donne's poetry is not characterized by sustaineddescription, "a given passage in Donne, perhaps even a single image, mayrely upon what may be called self-cuulaincd description, and the graphicapprchcn ion by the reader may depend. in part, upon the iconographicuggestiven '. of the image or pa. age" (pp, 27- 2 ). Discusse I onnc'intere I in art and arti 15 and "the kill with which he weaves iconographion ep into the word-fabric of hi poetry" and incorporate .. ariousIconographic implications into his poetic images" (p. 3 ). uggests thatlhe lirsl four lines of" alediction: forbidding mourning" may be partlyinformed by "graphic representation - ranging from elaborate initial leltcrsin manuscripts or early printed books to illustrations, whether by il-

fohn Donnelumination, woodcut, or engraving- in Renaissance works" (p, 28). Pointsout that the compass image may have been suggested by pictorial represcntationsof compasses in emblem books, woodcuts, and engravings, suchus the well-known compass emblem used by Ch ristopher Plantin, the Belgianprinter. frers examples of paintings. engravings. frescoes. and so onthat may "have provided amp le timulu: for verbal images uggestivc intheir compression rather than descriptive through expanded detail" (p.33). Notes that in "T he Storme" (line 4) Donne specifica lly refers to NicholasHilliard, I'hc miniaturist painter, and in Satyre IV (line 204) lo Albrechto tirer. nnd suggests that in "Witchcraft by a picture" Donne "manipulatesthe concepts implicit in the term 'picture' for humorous purposes"p. 36). I otes aliso that the face. of figures in The Last Judgment by vanEyck, several of the panels of The Carden ofWorldI , Delights by HieronymousBosch, certain paintings by Bruegel. woodcuts in 'e bastian Brant'sThe Ship of Fools, and perhaps even Luca Signorelli's frescoes in TheDamned Cas! into Hell and Michelangelo's The Last Judgment may be,as it were, analogues to lines 37-44 of "T he Autumna l]." Discusses brieflyexternal evidence to support Donne's interest in art. such as his will. inwhich he mention s several portrait and paintings, specifically mention ­ing Padre Paola (Paola Sarpi) and Fulgentio (Fulgenzio 1 lieanzio) anddescribing a picture of the Virgin and St. John attributed to Titian.~~ 927. How WAY, JmIN. "The Self and Its Regeneration," in The ProudKnowledae: Poetry. Insight and the Self, 16:20-1 9 2 0 . PI'. 158- 207.London: Henley; Boston: Routledge & Kegan Paul.Briefly di cus c "A nocturna ll upon S. Lucies day" and uggest that"the kind of poetry which invite us to a delighted participation in brilliantlywitty verse may in the end begin to reach, as it were, a naturalIimit" and U1 :11 thus "beyond a certain point, it cannot hope altogether tosatisfy the interests which it encourages readers to cultivate and sharpen"(p. 159). Suggests that. for all its seemingly personal qualities, "A nocturnailupon S. Lucies day" is a private poem made lip of ideas that are"dazzlingly interwoven into the contemplation of the personal experience"and stfesscs that U1e ideas "are constituents of a common culturalheritage; and it ist his, not any personal response or discovery, which providesthe poet with what enables him to see his disastrous experience atemporary, and so to resolve and terminate his poem" (I'. 160). Comparesand contrasts Donne's poem with Cowper's "Castaway" and Arnold's "Ib-larguerite-c-C ontinued" to show how each of the poem deals differentl 'with the problem of the failure of the spirit and isolation.~ 928. HUN"l1NGTON, JOHI . "Philosophical Seduction 111 Chapman,Davies, and Donn e." ELJ-J 44: 40-59.otes that modern critics offer apparently discrepant and often contradictoryinterpretations of "The Extasie,' George Ch apman ' "Ovids Banquetof Scnce." and Sir John Davies's Orchestra and points out that all

A Bibliography of Criticismthree of these poems focus on the conAicting and ambiguous possibilitiesinherent in Marsilio Ficino's Platonic theory of furor amoris. Suggests thatChapman's and Davies's poems teach two important lessons about readingPlatonic poems: "first, that the ambiguity inherent in the dramatic situationis commonly central to the poem's theme and is therefore not to beignored or denounced but to be accepted and probed; and second, thatthis ambiguity can be treated from a Platonic point of view as a complementarydoubleness that is essential to the depiction of tran scendent statesof mind" (pp. 54-55). Concludes that, seen in this light, "the doublenessof 'The Extasie' is, not a 'problem' to be solved by selecting one interpretationand rejecting the other, but a conscious rhetorical device that rendersthe Platonic theory of love's intellectual promise and at the same timeacknowledges the threat of moral duplicity" (p. 55).~ 929. JOHNSON, H. A. T. "

fohn DonneAdds ten (perhaps eleven) title to hi previously published list (entry566) of books that were either in onnc's possession (213 titles) or that atleast passed through his hand (5 titles). Notes that "the majority of booksalready listed were connected with I anne's workon the Roman Cath lierccu an , published in his book Pseudo-Martyr 1610" and that "m rethan half of the- book now added cem to have been cquired \ ith thsame view" p, 2

A Bibliograpl: ' o{ Criticism [1977 ]ary .es o{'l}'/JOfog}' {rom the Lat \/iddfe \ges to the Pr ent, editedby ;"arl [\·liner. pp. 79-1q . Princeton: Princeton Univcr ity Press.Examine hi torically and criticall ' how typological symbolism inform.cvcral major Engli h seventeenth-century literary works that deal withthe progress of the soul, including Don ne's ermons. "Hyrn nc to ad myCod. in my sickncssc." Devotions up on Emergent Occasion . and the 1\11­nivetsarie. Argue 0 that "typological symbolism became in the earlier eventecnthcentury an important literary me. n: to explore the p .rsonal. piritual life with profundity and p0y hological complexity. and that certainharactcristic Protestant alterations in the traditional typological formulaea ilitated thi exploration" and .how that "these alterations. together\\ ith the pr rnincnce of the theme of the progress of the soul. ari cfrom the .arne cau:e-the new Prote. taut -mpha i upon the applicationof cripture to the self. that i . the di: ovcry of criptural paradigm andof the working 0 of Divine Providence. in one's own life" (p. S1). Demonstrateshow in his sermons Donn e often "focuses his typological allusionsdirectly upon the Christian individua ls who constitute his auditory-s- us"(pp, 82- 3 and show how typological symbolism "serves a. a means ofself-definition and anal}' i in the Devotions upon Emergent cca ionsand in th 'Hyrnne to Cod my Cod. in Ill ' icknesse,' and a a v hicl ofprai c in the Anniwrsar)' poems" (p. ; ). .\ rgue that in the Annil'ersarieElizabeth rury become for Donne a type of the "regenerate lui tianin whom the image of od has been restored through Chr ist' [ustifyinggrace" and thus he pre rents her "as both recapitulating and fores hadowingother conditions of human goodness past and to co me" (I'. 87). Maintainsthat in the calif 'e of the two poems, "by extension of the typological patternsenac ted by Elizabeth Drury. the pcaker relate, himself and his audicnccto Elizabeth) progre " (I'. 9).~0 93;. LEWl , ~h RJ RIE 0 , "T he /vdve rsariu Talks Back: 'T heonization' and. atire l ,' in New E.~sCl '. on Donn e. edited by1\. tringer, pp. 1- 2;. Salzburg tudi in Engli h Literature. i'Jizabethan& R nai ance tudies, edited by James Ho ,no. -7. )'alzburg: lnstitut Bir Englische prache und Literatur, niversitat'alzburg,Maintains that the speaker of "The nnonization" is the adversarius aSatyr« I, now older and more advanced in self-discovery through the aidof hi virtuous lover. who is "talking back to his fri end the alirist of SatireI and triump hantly announcing at the end that the situation ha cornplctclychanged and that their former I . ilion in relation to ea h otherhave alter d in a way that the critic and advis r could hardly h. ve anticipated"(p. 1). uggest. a po siblc connection b .twcen "The anunization"and [uvcnals 'alire Ill. compare" the two. and show Donne', dramatiimprovement on the classical model. hallcnges the notion that 'alyreI is a body-soul debate but rather , ccs the speaker and adversary as simplytwo men who arc I mporarilv dominateel by two a pect of hum an natu re.

,68 . 1' 9771 fohn Dennethe spiritual-intellectual and the physical-sensual. Presents a stanza-bystanzaanalysis of 'The Ca noniza tion" to show that the odvenanus ofSatyre , and his virtuous 10\'(.'r become the pattern of constancy and thaithe speaker of the poem " 1I0W has everything the satirist formerly urgedhim 10 renounce his love to gain. but has it not in the corrupted form ofthe wor ld. but ill tile ideal form of those "Town es, Countries. Courts' andall the}' contain" (p. 21 ).~ 9)6. ~ Ic Fi\RVo..'l/ D . RO:'

A Bibliograph y of Criticismmortality" (p, 69). Reproduces both poems with an English translation ofLorcas poem by W . Merwin (pp. 7°-71).~ 938. M AUCH, KATHERINE. "Angel Imagery and eoplatonic Love inDonn e's ' ire and Angels...· SC r 35: 106 - 11.Presents a detailed critical reading of "Aire and Angels" and suggeststhree important keys to und erstand ing the poem: (1) the them e of Neoplatoniclove, which moves from sen c to reason to piritual und erstanding;(2) the pun on "angel" as both the heavenly messenger (body of air andessence) and the coin, each corresponding to the three stages of Neoplatoniclove- coin (sense, with even the association of prostitution), bodyof air (reason), and essence (spiritual understand ing); and (3) the dialecticpattern of movement from thesis to an tithesis to synthesis, "not betweenthe highest and lowest kinds of love but between the highest kind [themale speaker] and a lower kind [the mistress]" (p. 107). Argues that "thespeaker's change in tone at the end of the poem does not arise so muchfrom his reAectin g upon the baser quality of woman's love as from hisconsidering the fa ct that while he now knows what is required for anenduring love relationship, he must also accept the fact that a lasting Jovecannot be the completely mu tual kind of love he had sought andhad evenfound- at momcnts-on levels one and three," since "the bond of totalun ion exi ts not on earth but in heaven (between angels)" (p, 107). uggeststhat the often perplexing change of tone at the end of the poem"might therefore not be insulting, mocking, or even teasing, but ratherwistful, or perhap. bittcrsweet"- an appropriate term "since it suggests asynthesis of feeling " (p. 107). ales that until line 2.3 the changing natu reof the speaker's love determin es the nature of the imagery and that "no thingabout her or the duality of her re ponse to his love is described exceptat the poem's conclusion when her love is first mentioned and is seen tobe analogous to the body of a heavenly angel and therefore to be of thetype belonging to the second level of the eoplatonic ladder" (p, 107).Suggests that Don ne may be concerned primarily with saying somethingimportan t about the nature of human love. not with distinguishing betweenmen's love and women's Jove. Concludes, therefore, that the poemis "about the experience of finally, after much search for an escape fromoneself in total union with another, accepting the confines of the self andthe peculiarly hu man love that they make possible" (p. 111).~ 9 39. M ISHRA . j[ AYAKANTAj K. "The Fame of the Metaphysical Styleof Don ne" and "The arne and Nature of the Metaphysical Style:'in The Complex Style in English Poetry-Studies in Donne, Browningand Hopkins, pp. I 1 - ~ 5 . Allahabad: Mitab Maha!.Notes that part of this tripartite tudv of the complex style in Englishpoetry have been publ ished in the Allahabad University Studies and inPages of English Poetry; here revised. Onl y chapters 2 and 3 are devotedto Donne and metaphysical tyle. O utlines briefly in "T he Fame of the

lohn 0 0111IIetaphysical Style of Donn e" (pp. 11-2,) shifting critical attitudes towardmetaph ysical poetry. especially Donn e's poetry, from the seventeenth ccnturyto our own time and concludes that "in spite of much valuable andconstructive criticism a certain apologetic tone. a certain patronising stmi.is the order of the day in di eu . ing the role of the Xletaphysical tylc ofthe Seventeenth Century" and that. therefore. "the ubjecl till need. anhonest and revised di cussion in standa rd historic of English literature"(p, 2 3). Argues in "The Name and I ature of the Metaphysical Style" (pp.24-55) that neith er the term metaphysical. as it has been traditionallyapplied. nor more recent designations of the style arc satisfactory ill de­.cribing Donne ' style. Suggc t that it may be more properly defined simplyas "a new style which emerged at the end of the ixtccnth century lidat the beginning of the seventeenth century at once a. a revolt against 111prevailing sweet idealized Spen er-[P]etrarchan Platonic. Arcadian- Ill .1word 'romantic' or Spenserian style, and as a bold experiment of a COI1lplex,analytical. intellectual, psychological, and powerful kind intendedto express fully and powerfully the orn plex, full-blooded life of the Renaissancetime" (p, 32). Examines three feature. that have been wronghernpha izcd as the differentia of metaphysical style-wit. metaphysicalshudder, and felt thoug ht-and outline those feature that "really distillguishit from other styles" (p, 40 ): its intellectuality, realism or truthfulncto life, dramatic quality, and uses of a new language and rhythm . Presentsa briefcritical analysis of "T he Expiration" as an example of rnetaphy: icnltyle.~.. 940. MIZ I~J£WSKI, L I 'DA. "Darkness and Disproportion: A Study 0Donne' . tonne' and 'Calrne.'" IEGP 76: 217-,0.Argues that "The Stormc" and 'T he Calrnc" as companion po HIdramatize Donne's concern and pessimism over the collapse of the medievaland Renaissance view of a man-centered. finite. hierarchical universeand mai ntains; that considered together the poem ' "show a dialectic 0faith and rea on, a frustration with disharmony. and a hope for order th tmark the later religious poem" (p. 21 ). Presents a detailed critical analysisof the two verse epistles to . hov that they are com plementary part ufone argument : "T he Storrnc" presents the conflict emotionally, and "TheCalme" "broadens the experience and articulates the problem ill differentterms" (p, 230). Points out that the imagery and paradoxes in the poemreflect Don ne's acu te awarcnes of instability. permutability, and flux 11the univer c an d the difficulty of fi nding permane nce and order in tluworld. Demonstrates that, unlike the Songs and 'onel. the two ver cepistles "shov no attempt to reconstruct a tiny, private world for ecuri r(p. 2,0) but rather foreshadow Donn e's attitud e in The first nniversary.~ 941 . N RFO RD. DON PAIH~Y. " licrocosm and Macro co m in cventeenth-CenturyLiterature." II-ll ,8: 409 - 2 .Find alienation a key to much eventeenth-ccntury literature. e pe-

,\ Bibliographr of Critlcism[1977] • 371iall. 10 metaphysical poetry. and omrnc nts on "the intensified awarencof elf. the cultivation of the private personality, which was generaled inthe Renaissance by the growing revulsion from orthodox public role" andservices" (p. ..J.l ). hows that "the characlerislic metaphysical poetic strategyto usc the correspondcnc between the microcosm and macroco m toran cend the world by finding tha the private world of the lovers or ofh war hipper contain the I, rgcr univer e" p. -po). Discus cs how inhi love poetr ' Donn e 1I es the micro 0 nn- mt crocosm corre pondence a"a mean. of expre.. ion for himself and his love-his private world" andhow he typically "contracts or assimilates the whole world into his microcorn" (p. .poL as evidenced. for examp le. in "The Canonization" and'The good-rnorrow" uggests that Donn c "even surpasses Cu. anus in hi 'affinnation of the greatness of the contracted world" (p. .pz) and that hereflects the fundam ental Rem issancc polarity between all or nothing , a.•for instance. in "1\ Lecture upon the Shadow" and "1\ nocturnall upon .Lucies day." Notes that only in "1\ Va lediction: forbidding mourning" isDonne fully successful ill overcoming the world. since in it "the loversbecome the circle whose center is every. here and circumference no­",llerc" (p. ..J.25 .~~ 9.P. BY. HI ~ ru en 1 un ROW. "1\ cnecan Analogue to Donne's'Huge Hill.' " '&Q n .s, 24: Q4-..J. - .Point. out that a passage rom eneca' letter to Lucilius (Letter ..J.) maybe vet another ana logue to [ anne's image of the "huge hill" ill Satvre IIIline ( 9).•~ . 943. OWE • RORER R, "I anne' outh-We t Discoverie." I I 'QI1.S. z..J.: l.P-..J.3.Points out that the discovery of the trait of Magellan (1519) "providedthe !.nglish imagination with a new image that would soon be investedwith imaginative and symbolic importance" (p. l..J.2 ) and that the Europeanconception of . trails i. central to an understanding of "Hyrn nc tood my Cod . in my sickn ·s. ." uggesl. that description of the traif byAntonio Pigafctta, Maxirnilianus Trail.. lvanus, Lopez Va . and Thomasavcndish provide information on how Donne and hi. audien ce wouldhave understood his description of a passage that links the East to theWes!, the known to the unknown. and. symbolically, life through deathtu immortality.~" 944. PARI 1. JAY. "Th Progre s of the oul: Donne and Hopkins inMeditation." FML 13: 303-1z,' xamines Donne' 11( /)' onnets c nd .crard i\lanley Hopkin 's "'Ierribleonncts" as highl ' dramatic onncl cquences in the lgnatian tradition.Shows how "each poct transformed his own experience into art asan act of devotion and elf-examination" and di cusses the relation hipbetween poetry and meditation 0 that the modern reader can avoid "rni -

372 • [19771 101m Donnereadin g these great poems through ignorance of their relation to a specifictradition " [p. 303). Compares Donne and Hopkins and fi nds many similariticsbetween their styles ami religious sensibilities. Notes that both foundtheir inspiration in Ignat ian spirituality, both project themsel ves througha consc iously created pcrSO I1

Bibliography o{Crilici,m[1977J • 373ith to the poet's effort. for it recognizes the nature of the equation hemake ., tp. 13; )....~ 946. P,\ULl N. BI~n , 'ARD. Du Couteau iJ. la plume: Le Suicide dan lalitterature angloise de fa RellClis,wlIlce (' 5' (j- I 25). [Lcs Hommes clLcs Lettrcs: collection dirigcc pnr Jacques Co udet.) Publication del'Univcrsite de Saint-Etienn e. Lyons: Itdilions L'Hermcs, 6:! ::p.I iscu 'S theories about and the practice of suicide in the life and litratnreof England and the Continent from 1- to 16: -. Mentions I onnchroughoul, c pccially Biathanatos (pp. 106- : 3). :1 11. the work bizarrend unique. Exam ines i~ argurneu . itructurc. ourccs, ami casuisticalmethodology: ;' a doctrine relativistc l'cntraine afairc une critiqu hi toiquetres moderne" (p. 11 ; ). Discu sc the infl uence of Biathanatos onler thinker and cspc ially confronts th ' i ue of Donne's sincerity. ' ho\\'she importance of death in man)' of 1 onn cs works. both poetry and prose.ud concludes that he "met en evidence lc vice fondarnental de la methde(Irs cnsuistcs: ils onl oub lie tout simplcmenl la charite' (p. I n ),...; 9 -;, P I". R R I ;-':I ~ , L A RENCE. "I on nc s 'Love' Diet...· Expl '';. iii: 20-21Rejects [udah itarnp fer's suggestions (entry 267) that in "Loves did " thepeakcr of the fi rst four lanzas is a woman and the speaker of the fi fth iman. Argues that "the figurative ·tralcgy of the poem plit the personth pcaker into two parts" (p. ::I ); ( I) the "I." the rational part of thepeeker's psyche. and (2) the "it" or "him." the irrational. emotion al part.Mni ntains that the poem describes " JIO'\' the ']' puts the 'it' a ll a di 'I andures it of overweight" and allows "it" "only a low-calorie dirt of sighs.ears. nnd lettcrs'' (p. 21),f,!! A Q4 ' PETRI K. ST,\ LEY R. " ndcrstanding nderstanding Poetry"CIII/III 11 : 217-2 1.Con ider 'O IllC of the complexities of the fourth tanza of "A \':r1edic­IOn. forhidd ing mour ning' to di cuss difficulties in producing a satisfac­011 computer progral1l for understanding poetry, Note that "a computermodel for the understanding of poctr is nowhere ill sight" (p, ::19),~0 949. I E1 ~ 1' 1. A NTIlONY J. "John I onue ( 157:!- 1631)." in English lileTcJI")'hands (rom Chaucer to Dl"}'dell, pp. 96-97. Cambridge. lass.:Harvard uiversity Pre s.De cribcs characteristics of Donn ' handwritiug and comment n hises of punctuation and abbreviations. Reproduces a Iacsimilc of part of aiolograph leiter to ir Robert olton (160 2) now in the British LibraryC tton leo.. F. viii. f. 293 . lower portion). ot that Donne' holoapharc mainly letters, two Latin epigram on the Ilyleave of h ioks, areceipt . and the nev I found"/\ L tier to the Lady Carey, and l\ Its F ex

374 • [19771fuhn DonnRich. From Arnycn :. the latter being th ' only holograph poem knowncxi 1..~~ 9 50. POLLO K . Jail ' J.• ed. \ e Lie Down in Hope: Seledions [mmfohn Donne's Meditations on 'ickncs . Elgin, Ill.: \ eston, Ontano:ullerton. Calif.: David C. Cook Publi: hing Co . QW.Reproduces hart 'election fro m Devotions upon Emergen t eCllSIOn ,with forty-three accompanying contemporary photographs. ugges in thebrief introduc tion that Donne wrote the Devotions "cn tirel during tilperiod when he was 1110st ill" (p. 7).~~ 95 I . REI lIER'I, JOIl " .. nderstanding and Misund erstanding," IIl'vlakillg ell e ofLiterature, pp. 96-126. Chicago and London:11lCniver ity of C hicago Pre .s,Agrees with Wimsatt and Beardsley that line 9 of" valediction: forbiddingmou rning" ("iVloving of th'carth' refers to earthqu akes and nol tthe movement of the earth around the sun, a. Ch arles elfin sugge ts,but disagrees with their rca oning: "Wimsatt and Beardsley's reading make:good sense of the pa sage becau e it i. simpler. more complete. and morcon. islcnt than oflins" (p. 102).~~ 9 52. REI NER, 'I'll MAS :\ NDREW. "The Rope in Donncs 'Eleele :1\.'N&Q n.s. 24: 527-2 .Argues that the allusion to gold being transformed into rope in "/\ latof a itizcn and his \- ifc" (lines 64-65) is not ba cd on .1 free rcndenncor mistran lation of Plautu s's Autlliaria, as conjectured by ,rier.oll. buOIl all epigram attributed to Plato by Diogenes Laertiu. ami found in Dubncr'sedition of nthologia Palatina ( 1 7:'). otes that a somewhat irnilarinterchange occur in all epigram variously attributed to Plato, Antipatcr,or Statyllius Flaccus. Points out that lI1(' of the most famous subsequentversions of the epigram 'an be found in the first collected edition Df lielley'The Poetical Works (1 39).~~ 9 53. RIE 1m . r\. E " \ Pattern for Love- The Structure of Donn 'The Canonization:" SSEng ( 19i - H ) ): 19-31.Analyze "The anonization" to show that. althoug h it "gives the uppearancc of a sustained argum ent:' it is, in fact, "a tissue of unsubstantiatedand insubstantial assertions, false trials, deductions drawn from :1pia}' on words, abuse instead of demo nstration-in short. a specie 1)[uggestio [ali i and suppressio veri" (p. 19). Argue , however, that fhe seriousintention of the poem and its coherence can be found in its complex,symme trical, and numerological structure. otcs, for example. that thefi ve stanzas of the poem (the num ber five ymbolizing marriage and hastelove in lhe Renaissance) suggest that the poem is "a celebra tion of marriedlove" and that "its structural framework may be seen in terms of Piatonitranscend ence" (p. 28). Points (J ut s .vcral possible usc of num erologi :II

t\ Bibliagraph)' o{Criticism [19771 • n 5sym bolism in the poem : the ten key uses and pc sition ings ofthe word/ave(ten equals perfection); the nine-line stanzas (n ine equals heavenl y pcrfectionand immortality): the use of low for the eleventh time in line 39(eleven equals transgression and sym bolizes overweening pride and death );and the forty-five lin es of the poem (suggesting that perhaps it is intended"as a fantastical gift com memorating the feast-day of the saint of love" (p.30), 51. Valen tin e. whose feast is 14 February, forty-five days into the newyear. Concludes tha t "The Ca no nization" is "sim ultaneously 'serious' andAipP_II1I , dedicated and jesting. and en tirely free of that essentially Romanticco nvictio n tha t a work of art cannot (and should nol) embraceboth polarities a t the same time" Ip. 31).~ Q)-l. . SADW R, L YNN V EACH. "Relations Between Alchemy and Poeticsin the Renaisance and Seventeenth Century; with Spec ial Clauccsat Donn e and Milton." Ambix :q , pI. 2: 69-76.Discusses the insinuation ofalchemy into poetic theory and into poetictech nique during the Renaissance and the seventeenth century and dcmoustratcsthis merging "by drawin g parallels between poetry and alc hemy,citing the usc of alchemical an alogies and doct rine in treatises on poetry,and survey ing alchemical tec hniques in Denne's '111e triple Foolc' and~I i lton 's Sa msoll Agonistes" (p. 69 ). Suggests tha t in "111e triple: Foole"Donne employs the Paracelsian doctrine of "overplus," tha i is, the curingof one sorrow (or poison) by using a lesser sorrow (or poison ). Says thatthe Petrarchan lover in the poem is indeed a triple fool "in h is failure tointerpret rightly love, verse. and the purgative process (t he Paracelsianoverplus in th is case)" (p. 74). No tes that "to the responsive audience,however. the 'c u re' is already in evidence. as the distance between thecor nplaiuin g speech patterns an d the metrical structure of Stanza 1 seemsto lessen " and that even th e persona, "as he begins in Stanza 2 to speak ofmusic, starts aim to react to the harm on ics of the verse" an d thu s, in lime."will become the 'best' fool when he can laugh at h is own folly and nolonger resent ot hers learni ng from his mistakes" (I'. 7-1-).~ Q55. S ...NTISTEBAN OLMl-:IXJ, FR ANCISCO. "John Don ne )' la idea delamor." E s t u d i(l.~ de fi lologia inglesa 3: ClQ - u S.Comments on Donne's ph ilosophy of love and notes that, since he presentsIds ideas of love in so many different W'I )'S. it is diffi cu lt to study h isideal of love. Points out. for instance, that often a trivial situation leadsDon ne to a profound spiritual meditation , as, for example. in "' 111e goodmorrow"and in "Aire an d Angels," whereas in other poe ms he limitshimself to a simple clin ical description of sex, as in "Coiug 10 B

John Donne(Salzburg tudie in English Literature. Elizabethan ' RCIl,1I sauceStudies, edited by [arne Hogg. no. 57). Salzburg: Institut fiir xnglischeSprache und Litcratur. niver itat • alzbur .Review the tradition of the poet-priest in order to understand betterDonne's performance a, a poet who became C1 priest and di cus.es thirnportanee of the sermons as a Iilcrary genre in Renaissance 1 ~ l1 g l alld .Point. out that. "with a sound theological background and the skillsof thepoet for his C hristian armor. I onnc approachc man)' th ologi , I matterspoetically" and that for him "the technique. of poetry provide a mean tuhow forth the divine in term. of the human. the pirituul in terms of thphysical. and inner piritual my teric - in term of concrete. phy ical realitie." (p. 245). I lotcs that one can observe in the sermons Donne' in rea ­ing confidence in his role as a preacher who is also a pod: a great usc ofmetaphor in hi errnons: more allu .ion: to ae:thetics, rhetoric. and pntryitself; and even an increase in the use of rnctaphvsi ul wit. ~ laintainsthat I anne's public oratory is, ill fact, "remarka ble 10 the extent that itdepends greatly upon a 111 .ta phorical interpretation of til Bible nnd uponall exegesis of biblical text hy means of metaphor" (p. 2- .~ ~ 95 7. SmHA. V[I ODEl l I[ARAl, [. John Donne: A tudv of Iii DramaticImagination. ew I Ihi: K. K. Bhargawa at The Caxton P1, 7p.nalyzcs the Satyres. E leg ie.~ . and. ongsand Sonets to show that DImedramati imagination i an . sc ntial feature of hi poetry and explains hiscreative mode. liapter I . "C ritical Trends and Per pectivc" (pp, 1- o .surveys major critical estimates of I onne ill the twentieth cenl urv andconcludes that. in spite of the vast amount of Donne criticism, furtherinvestigation into his dramatic imagination and rnethcd is need d haptcrz, 'T he Dramatic Imagination" (pp. 31- -4), examines theoncs of creativeimagination and the dramatic mode and relates the e to I onnehaptcr 3 "Satires" (pp, - :;- 79 . all rnpts to , how hat I anne went beyondhi. Renai sance conlcm poraric. in hi. al)'res: "Th e heel' io) hemanifests in the creation of character and the portrayal of human relationship.• though only occa ionallv in the atires, goc h yond the limitedend of the atirical form ami is a ign of the pre cncc of drarnati imagination"(p. 78). oncludes that, "whenever Don ne's pod!')' succeeds. it ifor him not merely a question of literary devices but of an irresistibleintere: t in human character and in the totality of human expcricnc ..and"when the dramatic vision ails, there i a descent to the mere intellectualor bathetic as in • atire V" (p. 79) . Chapter 4, "Elegies" (pp, 1-1 ~4 1 .survey the Eleeies, comments on dramatic elements in them. and concludesthat "it i the dram, tic sense which make all the differ ' 11 inDonne's poetry; where it i. potent hi, poems arc ac thelically effe rive, buwhere it i absent or weak hi poetry Iail and becomes [ust a tour de fore "(p. 1 2 ). Chapter ). " ongs and . onnets" (pp. 13:;- '4). examine - themature love poetry to show the importance of the dramatic moue and

ABibliograph}' of Criticism I I q771 • '>77analyzes individual poems to illustrate how they reveal Donne's dramaticimagination. Selected bibliography (pp. 185-87)-'.c-~ 9:;8. 5r-.tAI1..ING, ~\'1JCHA EL. "Donne's Medieval Aesthetics and His Uscof !\lorally Distant Personae: 'lwo Questions, One Answer," in NewEssdYs 011 DO/Ilie, edited by Cary A. Stringer, pp. 74-1°9. (SalzburgStudies in English Literature, Ellznbcthau & Renaissance Studies,edited by James l Iogg. no. 57.) Salzburg: lnstitut fur EnglischcSprache und Litcratur. Universitat Salzburg.Argues that in his poems and sermons Donne's aesthetic values arc almas!identical with those of 51. Augustine and with the medieval view ofpoetics. Maintains that Donne- firmly believed in the principle of univcr­~I analogy and in the notion that efficacy, unity (orderliness and completeness),and truth arc the supreme criteria of beauty and that theseconvictions arc demonstrated in nearly everything he wrote. Notes Donne'sadmi ration for the Psalms, which embodied for him the very qualities thathe .,ought in his own poetry. Suggests that Donne's acceptance of theprinciple of universal analogy "reflects au ardent effort to preserve themedieval Christian belief in the unity of all things" and shows "the extremesto which the poet was prepared to follow the principle of universalJnalogy" (p. 8 5) by commenting on "Coodfrlday, 161). Riding Westward,"apoemthat reflects clearly "a mode of thought which sawall things,ISIII some way related to all others" (p. 8Q). Points out, therefore, that asa result of his medieval perspective Donne was able to look "everywhereand to everything, uniting East and West. fool nud wise men, compassesand lovers. integrating them in a poetic reflection of divi ne order" (p. 97).Points out that tu Donne and to his readers it would be as ridiculous toequate Coo to man as to equate the speakers of a poem with the poet.Concludes t1 t;J L "for all his mercurial interests, h i .~ fundamental Augustinianismremained steadfast" and notes that, although his speakers may rangefrom fool to sai nt, "we can distinguish cue from the other because thecreative mind behind them remains the same. in style and content" (p.101 ).'c~ 9:;q. SOHOS":", IEn-REY G. "Call and Rcs pousc-c-The Vi sion of Godin John Donne and George Herbert." Heligious Studies 13: W5­407.Argues that Herbert in The Temple reflects a more personal and intimaterelationship with Cod tban dCKSDonne in his Divine Poems and observeslhal "his Cod speaks to Herbert whereas the Divine in Donne doe, notspeak" (p. 3(5)- Notes that in his religious poetry Donne "reflects mostoften a dialectic within himself rather than a dialogue with divinity" andthus remains "at a distance from the divine presence" (p. 3Q6). Points outthat Donne's imagery is predominantly visual. while Herbert's is moreauditcrv Examines Donne's COIlC

John Donnthe Infinite, conceived of as altogether external to and even alien frothis present life" (p, 398). Comm ents on Donn e's Christology as it is r ­fl eeted in his poems and observes that he shows little interest in the humanityand personality of [esus and that when he infrequently addresChrist, he seems formal. Stresses that "there is very little of the mystic'understandin g of God in Donn e" (p, 399) and suggests that Donne's stron the legalistic aspects of redemption and on the unconditional demandof faith, his preoccupations with his own guilt, and his fear of damnaticreate barriers between him and his God. Concludes that "Herbert's reI ­gious poetry, enriched by thc presence and voice of God, speaks of a morsignifica nt relationship than does Donncs more objective poetry" but nothat "this would not be to say, though, that Donn e's struggle with a sileGod touches us less profoundly: for to maintain one's trust in a silent Ga God whom one can no longer sec facc to facc yet with whom oneobsessed. is perhaps the greatest suffcring of all for the man of faith" (40 7).~ 960. STORHOFF, GARY P. "Social Mode and Poetic Strategies: DonnVerse Letters to His Friends." ELWIU 4= 11-1 8 .No tes that a typical Donn can verse epistle to his friends "involves thcreation of an exem plum , with the recipient himself usually serving as thmodel of conduct" and that, since Donne also addresses himself to rproblems, "his letters of praise often become paracnetic, praise which u ­timately becomes counsel" (p. 1 1). Shows how in thc foll owing four episDonn e manipul ates fiction, tone, and imagery in order to satisfy the r ­quirerncnts both of his immediate recipient and of a more general aud ­cnce and to avoid breaches in social decorum : "To Mr Rowland Wo ­ward: Like one who," 'To Sir H. \V at his going Ambassador to Venice."To Sr Henry Wotton: Sir, more thcn kisses," and "To Sr Henry CoodyerWho makes the Past." Points out that Donne "combines graceful compl ­mentary verse with Chri stian principles of social responsibility" (pp, 11­12) and that these verse epistles "reveal talents very different from Donnlove lyrics and religious poems" (p. 17). Comments on Donn e's publvoice, his didacticism, and his "Jonsonian" qualities.~ 961. STRINGER, GARY A., ed. New Essayson Donne. (Salzburg Studiin English Literature, Elizabethan & Renaissance Studies, editedJames Hogg, no. 57.) Salzburg: Institut fur Englische Sprache uLitcratur, Universitat Salzburg. i, 262p.Contain s eleven original essays on Donne's poetry and prose, each ­which has bccn separately entered in this bibliography: (1) MarjorieLewis, "The Adversarius Talks Back: 'The Can onization' and Satire(pp. 1-25); (2) Patrick C. Hogan, [r., "The Iconographic Background ­thc First Verse of Donne's 'A Valediction Forbidding Mourning' " (pp. : 6­44); (3) Leonard D. "burney, "Donne , the Countess of Bedford, and .Petrarchan Mann er" (pp, 45-59); (4) Robert J. Bauer, "Donne's Letter '

A Bibliogra phr ofCriticismHerbert Rc-Exanuncd" (pp. 60-71); ( Ij) Michael Small ing, "Donne'sMedieval Aesthetics and His Use of I\ l orall ~ ' Distant Personae: ' J\\'{) Questions,O IlC Answer" (pp. 74 - 109); (6) Paul A. Parr ish, "Poet. Audi en ce.ami the Word: An App roach to the AIl/ljw rsa ries" Ipp. 110 - -;9); (7) A. B.Ch am bers. "Lc Coro,za: Philosophic, Sacred. and Poeti c Uses ofTime"Ipp. qO -7 ~ ); (8) Stanley ..uc hcr. '111c ..\ rchctYp,l1journey \ lotif ill DUlllle '~Dirine Poems {pp. 17, - ( 1); (9) Robert ~1. Couper, "T he Political Implications of Donne's Dcmtimrs (pp. 19~ - ~ I O ); ( 10) \fichacl L. Hall ,"Searching the Scriptu res: ;\ Il'ditation and Discovery in Denne's Sermens"(pp. 2 11-38); alld ( I I) C arl Braun Sennhenn, "John DOllIll', Poetin the Pulpit" Ipp. 239 - (0), Biographical sketches of the cont ributors Ipp.,",-",).'~~ 962, SULLIV,\;.l , ERi'iK'\T W , II. "Dating the Bodleian M anuscript ofJohn Donne's Biatltanatos:' M-:B I: 26-29.Discusses the d alill ~ of the only t'xtant manuscript of Biatlwrw/os, Notesthat the transcription was originullv presented by Don ne to Lord Herbertof Chcrburj; who, in tum. gave it to the Bodleian Librar y ill 16.p , andthat it contains a presen tation letter. hundreds of marginal annotations.and a sixteen-word correction or the text in Donne 's hand. Shows thatletters of Do nne to Sir Robert Ker an d to Lord Herbe rt conviucinglv indicatethat the manuscript was transcribed sometime between q \ larch16IC) and 7 ~ la y 16zq, Suggests tha t since the man uscript is written onthe same pape r as are two dated let ters foun d ill a Magdalen College manuscript,it is reasonable "to spec ulate that the transcriptio n took place ncarthe en d of t he possible dates" (p. 27). Notes that this later date wouldsuggest that Dnnuc maintained an interest ill his defense of suici de evenafter he was appointed Dean uf St. Pil UI'S.'~ 96-;, . " ~ f ;\ fl;i ll a l Rule s ,IS Evidence." SB 30 : 17 1- 80.Uses the qua rto first ed ition of Biothonatos (16.1-7) to discuss "somekinds of problems (initial point of composition. priority of different scitingsof the same shed, partial-sheet imposition, and order of impos itionof prelimina ries) which may require analysis of marginal -rule evidence toobtain

~ 965. TOURNEY, L.EON,\IW D. "Donne, the Countess of Bedford, an1the Petrarchan Manner," in Nell' E:;sQ)'s on D on ne. edited by :(1A. Stringer, pp. -1-5-59. (Salzburg Studies in Inglish LiterateElizabethan & Renaissance Studies, edited by lames Hogg, no. ; ISalzburg: Institut fur Engli chc prache und Litcratur, niversit;Salzburg.Stresses the importance of Donne's verse epistles, especially those addressed to Lucy. Countess of Bedford, for a full under tanding of hi s II·au. uses of Petrarchism. Notes that the epistles as poem ' "are grounded IPctrarchan conceptions" and "as documents in the history of social relations they mirror the extent to which Jacobean cour i society accepted tilvalues and the expres ion of one of the stronges t irnpul es of Italian culture"(p. 46). Explores briefly the literary tradition of Pctrarchism. itscanceits, attitude and po. lures. and love philosophy, and note. that. ,\1though Donne occasionally parodies the Pctrarchan mode, Petrarchanelements "arc as important in Donne's verse epistles as they arc ill hi 101'lyrics in providing a substratu m for serio us thought and emotion" (p, r lRecounts Donne's relationship with the Countess of Bedford ami suggc'tthat his verse letters addressed to her "reflect a conception of a relations hi prather than a history of one, their whole conce rn being to show DOIlI1 'admiration for the Countess and to dilate that admiration with the grcatcingenuity and logical rigor" (p. 48). Argues that Donne's verse epistles tthe ountes are more than merely fa hionable poses. "for beneath Donne'abject posture is the same insight that provoked Petrarch s own melancholy reflections-an Augustinian sense of the ultimate hollowness )worldly things. the imminence of decay and death, the fra ilty of all humanendeavors" (I'. 54). Maintains that the epistles become vehicle lnrDonne's serious contemplation and philosophical speculation on the natureof virtue and show "the ways literary traditions may shape lifeas w 1\as literature, how they can mold conceptions of human relationships andbecome an expressive idiom of social intercourse" (p. 57).~~ 966. . "Joseph Hall and the Anniversaries." PLL 13: :! -- ~ . I .Discusses Joseph Hall's "Praise of the Dead, and the Anatomy" :lI1U"Harbinger 10 the Progress" as "the fullest and most perceptive conteruporary response to the Anniversaries" (I'. :!S ). Comments on Hall' as D­ciation with the Drury farni lv and with Donne and .hows that he was ahighly qualified literary critic. Suggest tha t Hall is a better critic of thepoems tha n Jonson and shows that he found Donne's praise of r:Iizab IIIDrury "neither absurd nor disrespectful." that he "viewed the premises ofDon ne's poems a. reasonable, even traditional," and that he "clearlunderstood the intention of the Anniversaries" (1'. 34).~ 967- \ "'ERTEI BAKER, TIIOMA S I.. JR. "Donne's 'A [eat Ring Sent."Expl 35, iv: 27-28.Di agree with the readings of Ra . L. Armstrong (entry 387) and Myrtle

Bibliographr ofCriticismPihlman Pope (entry 61). Sugge Is that all three mnZ3S of" [eat Ringnt" arc addre "sed to the [eat ou t of which the ring is made and arc abouta ieat ring sent hack. Argucs that the pcaker throughout "wonder if thei at ring has a talc to tell beyond his mistress's message" and in tanzathree"reproves the ring for its self-deprecation" (p. 28). Maintains thai atthe end of the poem the speaker decides to cherish the ring and to flauntit"as the gesture of one not disposed to treat rings or relationships casually.whatever their form or ubstancc. as was his late inconstant rni.tress''p :: ).~ ~ Q6 . 'vVILU ,\ 1\lS, t\U ~ REY L. "What Pope I id to Donne," in A Provisiouof /-l 1JT1 1C1/I I atute: r:ssa)" 011 Fielding and Other ill H Ol1o r ofMiria m ustin Locke, edited by Donald Kay, pp. 111-IQ. nivcrit)',Ala.: 1 he niversity of labama Press.Disagrees with those who maintain that Pope followed Donn e's subjectmatter in his imitation of Satyre II and changed only the form and styleoi the original. 'o l11pares Pope' two versions of the satire (1713 and 173 5)and Donne' aiyre 11 and shows that by contracting his satire and focusmgit on the on e il of venality. a well a hy numerous other alteration ',Pope in fact changed the subject matter of I onncs poem and "providedhi altered ubicct matter with a domina nt, hut totally appropriate, patternof imagery" (p, II I ). I otes that one of the major alterations Pope madeIn hi' 173 - ver ion was the cr ation of a new character. Peter. to replaceDoune' Coscus : nd identifies Peter a Peter \ alter, a notoriou 1I10nerivcncr of Pope' time.'~~ 969. Y AMADA, YUTAKA. "John [ anne against the Sun nc: His DawnSongs and the Continental Alba." Sf: 2: 29-4 1.uggc t that in hi. dawn ongs, "Brcakc of da :' "The Sunnc Ri ing.'and "The good-mo rrow" Donne wa obliged to diverge from c tabli hedContinental model. and to modify pocti conventions becau e of thebreakdown of traditional cosmology in hi day. utlines the developmentof the alba and dawn song and compares and contrasts Donne to variousContinental examples. Suggests that "Brcake of day" is a parod ' of theProvencal dawn ong and that "'I he unne Ri ing" is a paradoxical play011 the conventional metaphor of lovers as the center of the universe.onnncnts on how Donn e's knowledge of the new science shaped hispoetic vision and choices.197~ ~ 970. AM D, CEM IN O H. "T he Verbal Medium: The Mean of Imitation,"in A Formal Approach to Lyric Poetry. Pl'. 311-66. QuezonCity: niver ity of Philippine Pre s.Diseu ses the nature and function of poetic language and comments on

foh 1l 001111the range and varieties of poetic diction. Points out that poetic languagis, by its very nature , "an artificial language. since even when it is 1110like natural speech, it s rves a particular artistic end or purpose rather thanthe natural end of discourse or ordinary conversation" and, therefore. agrcwith Elder Olson that at its irnple t and rno t natural level poetic dictimcan best be described us "language heightened, developed, made moreexpressive and vivid, made more concise and more strictly relevant. mor[ characteristic of the speaker and his emotion, than ordinary language"lpFZ). Analyzes in some detail the uses oflanguagc in Leigh Hunt' "[ern \Kiss'd Me," ' lb1l1YSOll'S "Break, Break, Break," Donne's "A valerlicti omforbidding mourning," and 1 ~ S. !.liot's "Sunday Morning Service" to sho.that complexity and sophistication in the uses of diction, syntax, metricalstructure, and rhetorical and linguistic devices do not detcrmin ' peenlanguage. Argues that the language of Donne's poem is successful. 1I0tbecause it is more complex than Hun t's or Tenn y on's and 110t be au l' Itis less complex than Eliot's, but rather because it effec tively reveals IIIspeakcr'S character and situation and adequately mirrors the intclleclual[ adroitness and wit that the peaker wishes to convey.~0 97 1. A ERS, D AVID , AND GUNTHER KRESS. '''Darke: Texts Need ales'Ve rsion. of 'e1f in Donne' Verse Epi ties." L&l-l : 1' S- ::; '.Analyzes the argument, language, and images in several of the verseepistles, especially ''To the Counlcsse of Bedford: Madame, You have r .fin'd," "To Sr Henry Wotton: Sir. more then kisses." "To Mr RowlandWoodward: Like one Who ," and "To Sr Edward Herbert. at [ulycrs: '1:11i a lumpe." Argues that the verse epistles reflect the ccntral tensious ,11111preoccupations of Donn e's middle life and teach a great deal about thpoetic and intellectual strategies he employed in confronting them. Mal"tains that most of the verse epistles are exercise. in self-exploration andarc. in fact, Donne's attempt to work out hi own self-identity. Commentall Donne's sense of being an alienated intellectual excluded from titsociety of which he sought to be a part and discusses the complicatedmetaph ysics that he constructed in the verse epistles, "in which a platonimodel of eternal value was set off against a market model of u e' (I'. 14 l,Notes that Donne's cynical and critical view of the world that had excludedhim as well as his self-estimation "were boun d up with the formmodel; yet he clearly wanted a place in the market and so had to assert lususc as a secular servant" (pp. 14 - 49). Suggests that in the verse lett rhis efforts, therefore. are primarily directed toward finding acceptance illthe established, traditional order about him and that "in his quest forincorporation he reluctantly accepts the necessity of turnin g himself. hiabilities, and certain of his poems which are ab olutcly overt token. 0exchange .. , into commodities" (p. 149). Suggests that the approa.hused in the essay could be profitably applied to other of Donne's works,

:\ Bibliographl' o{Criticism'~ 1 9T:!. · A.I'.;\\\'''. YOSHIHI. ". "John Donne no 'Slninen tSlltfi hi' ko" 'A'Iudy uf 101111 Donn e's 1\ /l lI i l'er arid . Pl. z. Bunkei R Oil fj (HiromacDaizaku Bungakubu) I~. no. 6 1;-" \areh); 13 - ~5.Pari ~ of a three-pari serie . Translates into [apane e 'l ite .econd Alllli·versa rie. For pari 1, see entry 94. Pari 3 is a critical study of the /vnniversaries and appears in BUllkei R OlIs(J (Hiromae Daigaku Bungakubu) 14,110. 3 (March 1( 79): 1-14·~ ~ 973 . A "1_. I lEATH ER. ";\lagdalenc Herbert: Toward a Topo for theAnglican .hurch." CHI I . no. 2 : 1-16.Di CtlS ~ how in his sermon of 1 6 ~ conunemorating the death oflagdalcn Herbert, Donn e "pai nts for us the portrait of a lady a the AnglicanChurch. defining the path of the 'midd le way'" (p. I • and how inHerbert's molher Donne "finds a 'place' where Church and cripturc meetand arc reconciled" (p. 2). Com ments on I onne's discur in : analysis ofthe Church through his LISe of Mrs. Herbert as a tapas of the Church andsuggests thal Iter primary importance for him "is that her life presents aproper Image of Cod" (p. 8). not to be wor hipcd but to be followed as alle ·ample.•~~ 974. BEl rru CAROl::' AL, UIS C RLO ' . EI Manierismo illgles. 10/111Donne. ( olcccion Monografica, 6~ . ) C ranada: niven idad deranudu. 32 p,Ch apter I , " -lanieri mo y Barroco: CII s tionc Tenn inologica Previa "(pp. 13-47), 'lIIVCY past scholar hip on the usc of the term manneri mand baroque, distinguishes between the two styles. and find the manneriststyle more controlled. intellectually 'eJf-eol1Scious, and organic than thebaroque, Chaplcr z, "Renacirnicuto, Mnnicrismo y Barraco" (pp, 49­143). di tingui he between Rcnai ance and rnanneri I art. comments onmanneri rn a. a "style of crisis," discu c. the relationship of manneri . rnto Petrarchism and to Counter-Reformation venteen th-ccntury panishart. and comme nts on the interrelationship between culture. ocicty, andmanneri tart. hapter 3, "John Donne. Po 'In Manierista" (pp. q-- z 4),di cus e nnc as a manner]:I, p inting oul hi anti-naturalism, hi x­ploration of the theme of deceit. and his specific usc of the conceit.Discusses Johnson's criticism of Donne and compares and contrast Donneto Crashaw Marilla, Petrarch, Jonson, and Q uevedo, noting that there isperhaps a brotherhood between Donn e and Qu evedo but nothing 111 000e.Find Donne's poetry more than irnplj witt Petrarchisrn. Appendix. "\ '1tcoria poetics de Thomas Steam ' liot la practica poetica de John 0 nne"(pp. 2 5-9 ), comme nts on '1iot' criti ism of Donne and argue that.although Eliot' peeific attitudes cannot be trietly applied to Donn e'spoetry. the term that Eliot u cd must b ' taken into account and can servea effective approaches to Donne' poetry. Bibliography (pp. 299- 17):index of names (pp. 319- 25): and general index (p. 327).

lollll 0011/1~ ~ 9 ~ . B L ~ lJm. PEGGY J NN." Re-examination of I onne' 'U Iana ...· E 7: "7-44.Discu.ses how in La Corona Donne successfully adapts the traditioiseven-part rosary and the Continenta l onnet.stanza called 1'1 coron.hi 0\ n purpo cs: "'10 the repeating tanza form he added dditional ititions to uggest the circular form of hi subject. the r .ary; whilenlarged he TO ary to become the crown of thorn and a c -clc of pr \ I(p. "9). ates that [ onne reinforced hi metaphor of twining by a rctitive rh In scheme that "give' the poem a cyclic motion" (p, ~ q l a \\ Ia by the uses of paradoxes and caesuras. Compares bricOy Milton's " (the Morning of hrisf Nativity" and Crashaws "T he Holy 1 ativit 0our Lord od" as repro en tative of cvcnteenth-ccntury Prete tant aiCatholic attitudes toward the ativity and suggests that I on ncs ernphain La Corona on the sinfu lnes of man and his redemption through hrirefl ects his distinctly Protestant attitude. Suggests that readers often fai l Iappreciate the poem because they do 110t recognize Donne's USt: of a publie voice and his celebratory stance but argues that the poem clea rl, t ­fleets Donne's skillful craftsmanship and his knowledge of and ability Iadapt both Protestant and Cat holic literary conventions to hi: own ends-.~.;; 976, RHITT Ii"G. EORG. cd. "John Donne: ' in L trik des heud·laude . pp. 244-46. 6

:\ Bjbl iogra p" ~' of Crit icismmay have masterfully imitated Donn e's poetic style he could not disguisecertain telltale features of his own distinctiv e structural fingerprint"(p ;'7).'~;, Q7S. C1u;'\:G, ,\1.-\RvIN K. L. "TIle Relationship Among the DiverseSenses of a Pun." SECOLR 2 , no. 3: 1- 8.Presents a detailedlinguistic ana lysis of the pun on Tal'ish in "Batter ruyheart" to demonstrate "how the seemingly unrelated readings of this verbI'to plunder: 'to rape,' and 'to cbunn') arc ccuuected" and to delineate"the points of semantic conunonaliry ami the departure from these pointswhich allthree readings of the verb hnld in common" (I" I ). Argues that,although Donne "achieves a dramatic tension through the diverse poly­§('fTlOUS and contradictory senses of the pun, he produces an organic whole"Ip. I ). Analyzes also the multilcvcled meanings uf the pUlIS enthrall andbreak that knot and shuws the interrelations between these two puns andthepun Oil Tavish. Presents detailed charts of semantic relationships of thevarious readings of the ]lUll S.,~~ Q7Q. COGN AR I>. ROGER A, "The Co mplex Moment: Donne's Imageryin the " elM: Epistles." EnglisftStudies Collections (Special Series),january; PI'. 1-2Q .Argues fur the literary merits of Donne's verse epistles and denies thecharges that they reveal "a fawning, insecure, or mcrcenal)' poet sacnficmgartistry and sincerity alike ill the pursuit of friendship and patronage"tp. t ]. Shows that. although the earliest verseepistles are mostly common ­dauons on the writings of his friends, such as Rowland Woodward, EverardCullpin. and others, often comme nting a ll poetry or on proper usesofone's talents, the later epistles fall into definable categories: "self-exammarionand control. beauty, grace, and hnnor-c-all of which arc COI11POnentsuf virtue" (1'. 4) and argues that some. in terms of their logic andwit, are "equal in quality to much of Donn e's other poetry, especially inthe imagery used to display that wit" Ip. I ). a wit that is both sensuousand intellectual. Pciub out that the imagery of the verse epistles is often"innovative, provocative. occasrouallv even blasphemo us" but displays "auuitv, a harmony that is 11 itself startliuq be cause it is realized out ofappa rent discord," a kind of "unity in multcity" (p. , ). Divides the studynuc five major sections: (I) T he Brooke lettcrs-c-unity ill association andapprehension of thought, (a) the \Voodwiml letters-the beginnings ofimagistic themes and techniques in the verse epistles, (3) transitional clementsill the imagery of the WOllon leiters, (4) the letters to Lady Bedford-imagistic techniques in the l'oeil)' of high complime nt, and (:;)thesignificance of the imagery in the letters to Lady Huntingdon. Suggeststhai a detailed study of the imagery in the two epistles to the Countess ofHuntingdon strengthens the case for Donne's au thorship of the earliernne, strengthens arguments for the dating of hath letters. and shows clearlythedevelopment of Donne's imagistic technique.

Ohl1 1 0 11 1/~ 9 '0. . "Don ne' 'Th Dampe.'·' Expl 36. ii: 19 - 20.Maintain that the complexity of "T he Darn pe" ari c from pun on \\ 0key word, die (meaning both death and the sexual act) and prirnarildampe (which ha thrc obvious and one highly figurative meaning) 1 tethat, in addition to a check or di couragement; a tate of despair or lcprcion: and n noxious exhalation, vapor, or gas, datnbe can refer to gas III ilmine "which snuffcd out both the lamps and the live of the miners" (p20 ). uggcsts that the fourth meaning gives thematic unity 10 the wholpoem ami that Donne is sa -ing that, "like the 'dampe' of a mine will htiflc the mine rs, S( the lady', dampe of love has stiflcd the 'per /l ll, ,'enjoymen t of her phy ical minc" (p. 20). l' otes also that mille was .\ comrnonElizabethan image for the womb.V!!~ 9 8 1. C RG K , FIONA. "John Donne-i-Pctrarchan Idealist or Anti-ptrarchan Cynic?" fJlI S (University of Rhodesia. Salisbury) " ad series:24-27 .Surveys Donne's attitude toward love in "Loves growth," "The Extasic,""Loves Alchymic," "T he triple Foole.' "Confined Love," "Song: .oc, andcatchc a falling starre.' "Worn ans constancy," "Song: Sweetest love, I dnot goc.' and "T he "Llnnc Risin " to how that "in his more extrcm '(,llldoften agoni cd mome nt ) I an ne veers towards cynicism and somelunidealism" (I" : 7 but that the essential difference between him and thtradition of Petrarchism and anti-Petrarchism lies in tone, ole tilDonne is a dramatic poet, not a rhetorical poet, and argues that hi rcat lovc poem "reco ncile two apparent opposites and encap ulate lheru II.harcd situation... and that. "above all. the n, John Donn e is the 10'1relation hip - the pact of 'us" (p. 27 ).~ 1 C) z. [ A, lEU;, EDGAR Ji'. "Donne' 'Pyramus and Thish ..' " '..\pl ~ t)ii: I .lIgge t. that the "cruel friend " who eparated the lovers in Ii c .10 Ijoincd them in death docs not refer to the parents of PyraIII LI S and 'Ilusba usually thought. but to the lovers themselves. Maintains that the unitand paradox in th epigram arc reinforced if the lovers "lila ' be said IIhave [oined themselves as well as separated themselves. III .riting til ' 0 ,moron of 'cruel fri ends,' '' Paraphrases th e epigram: "'I\vo lovers (crucifri ends)- slaill by themselves, by each other, and by love and fear luivin their parting come together here."~ ~ 98,. D ENI ', Y"F" '''Adieu a l'arnour' by John Donne." C Cl hie rs /~ I " ,~5 -39 ·Pre.cuts a French translation of "Farewell to love" followed b) :1di "sion of three major problem in the poem: (1) the reference to "Hi: 111 IJ·nc s .. in line 12: (2 the difficultic in lines 21-30 . c pc iallv line: ::. ­~ o: "Becan e that other cur c of being short, I And onely for :J nunulmade to be. I sagcrs de ire 10 raise posterity": and (,) the prohl III

~ Blhlwgraph)'of Critici mntcrprcting the last line of the poem: " 11 ~ hut applying worme-sccd 10he Tailc." ,enerally disagrees with Pierre Lcgouiss reading of the P Ot:1I1S "11 11 a .te de renonciation sincere al'arnour cl all commerce des femmes"nd prefers to cc the poem as "une plai.antcric. aillcurs excellcnle. des­,mer divcrtir lc: ami ' a l'aulcur Ie Ii ail au lc donnait alire" and a. "unI ur ironique de bout en bou , Ie enn nt d comedic d'un lihcrtintil, a 101 uite de quelquc dcboirc phy iologique ou .cntirnental, jur queI dcmain iI .e fera couper' " (p. 36).~ ~ 984. I E SILVA, D. M. "John Donn e: all un-metaphysi

JohII ()Olll/the supplying of contn ctcd forms and elision whenever the ' are mctncall.ncces. 011')': and (.l) "Commen tary" (pp. 151-5 ) contain rev i ion Unotes and poin out that hcadnotes to each poem han: hcen rc\ i.cd tinclude manu cript discovered since 195.2 (but miscellanies cont 11110only ragrncnts have not been ineluded .~ ~ 9 6. . 'I'll' /!.,pitlwICl l1l iolls, Anniversaries, and Epicede« l;;d·ited with introduction and commentary by W[c Icy] Milgatc. ( hford ' nglish Tcxts. ) h ford: ' 111c Clarendon Press. lxvii. 2HPPreface (pp, v- viii) notes that epitaphs and inscription compo d bDonn e and early elegie. on him arc also i eluded. Content ami de cuptious 0 two plates (pp. ix-x), and referen ces and abbreviations (pp. '1­xiii}, iscus es in the general introduction (pp. xv-xlv) the major charateristics of and altitud es exprcsse I in Donn e's epithalamia. lhe two nlli·versaries, and the epiccdcs, T he: textual introduction (PI'. xlvii- lxiv) discussesthe manu scripts and the early editions of the cpi thulnrnin, cpiccdcs," 1'~ l e g y upon the: untimel . death of the incomparable: Prince Henry," andtile two /vnniversarle«. List of sigl» (pp, lxv-lxvii), Th e text (pp. 1- 107) i.followed by ,1detailed ornmcntary on the poems (pp, 10 8- ~ ~ I), includingnote: 011 the epitaphs and inscriptions (with translations into Engli:h)and on the clcgic on Donn e. prefaced by a discussion of versificntiou (pp10 - 9). Appendix I, "verbal Alterations in the Eb ithalumians and tpicctlesin the edition of 16 -" (pp. 232-34). and Appendix 2. "The .I ·'Death be not Proud " (pp, 2-';-37), a poem pos ibly by Lucy. untcof Bed ord, which may be a reply to Donne's "Elegy on Mrs. Bul {n CIndex of first line. (pp, 239- 40).~ 9 9 7· . The fohn Donne Treasury, Edited by I· rwin P R[-dolph. ( real Chri tian la: ics Series.) Wheaton, III. : Victor Boob9-lP·Anthology of Donne' rcligiou poetry and pro. c int ended for p 'r 011:11meditation or group study, "John Donn e. the ;\;13n" (pp. 4- 10) pre cn~very general and bricf introduction to Donne's life and works and tr .in particular hi place in the tradition of devotional literature: Part I. . e­votion upon Emergent ccasions" (pp. 11-46). contains selections [romthe Devotions: Part II. "The Divine Poems" (pp. 47-56), contain' tCII ofthe // (/ )' Sonnets as well as "Hyrnnc to God my God. in 111 )' si kncsse"lind "}\ ll yrnn c to .ocl the Father"; and Part III. "Selections fr III Ihcrmons' (PP. 57- C)2), contains twenty excerpts from the sermons. Eucl:part i. introduced by a brief note. All selections arc arranged by religioustheme. elected bibliography (pp. 9 3- 94). Jennifer Greene has preparedLeac1er's Guide (or tile Iud)' o{The fohn Donne Treasury (W heaton. III •Vi tor Books), 32p. Contain general remarks on preparing lesson anix Ie. 'on plan plus note for II review session.~9 9 . I ~Ll . RO [)T, R BErn . "La Fonction de l'imagc s icntifi quc danla pocsic mctaphysique anglai e, ' in Hommage d Emile ;u.qu I

A Bibliography of Criticism(l q :W-IQii), pp. -n-5'. (Anualcs de Ia Facultc des Lcttres et SciencesHum ain cs de Nice, 34. ) (Etudes unglc-amcncain es. vel. 3. )Paris: Belles Lcttrcs.Compares the use of scientific imagery in the poetry of Donne andselected other metaphysical poets. Maintain s that Donne's use of suchimages is distinctive and original and focuses attention primarily on hisimages of the circle. Notes that for Donne, unlike Traheme and Marvell.the image is never simply au object of contemplation but is rather a toolofactive thought and points out that Donn e did not need to be convincedof the truth of images ill order to find them poetically useful. Observesthat for Donne "sculc importc t'cxactitudc du rapport entre l'idec ct l'tmagc"Ip. , 1). Notes that etten Donne uses the un passivelv accepted characterofhis attitude toward the validityof a given image to communica te a toneofmockery and/or intellectual confusion.~' 9 8 9 . EpSTEIN, E. L. "Playing the Literature Came: A Public andCollective Norm," in Lv nguage lind St yle, pp. 22- 63. (New Accents.gen. cu. 'Icrrcn cc Hawkes.) London: Meth uen & Co.Presents a .linguistic analysi s of line 6 of "The Relique": "1\ bracelet ofbright haire about the bone." Points out that "the actual or potentialmovement of the lips in the physical or mental articulation of a poeticlinefrequently provides significant dramatic reinforcement of the effec t ofthe line's meaning" Ip. ~ 1 ) . Notes that the pronunciation of bright andbracelet, both front vowels, causes the reader to "smile," whereas bone. " ,1mid-central vowel gliding to the velum (with a pursing of the lips)switchesoff the light" (p. 31), thus "the 'movement' is essentially metaphorical,a sudden sinking of the spirit from the smiling notions of 'bracelet' and'bright hairto the grimness of 'bone" (p. H ). Diagram (p . ~3 ) .~ 990. E VA!'OS, CIWA.'1. The Age of the i\ ' etaph )'.~ icals . (Authors in TheirAge, gen. eds. Anthony Adams and EsmOT Ioncs.) Clasgow andLondon: Blackie& Sons. r.sop.Introduces metaphysical pods arul their time to students. Chapter t ,"Why Metaph ysical?' (pp. 1-1 9), attempts to defi ne metaphysical poetryand comments on such terms as T11etr.tph ysic:a/, wit, satire, conceit , baroque,and paradox and stresses that definitions of these terms "can onlyprovidea starting-point for discussion" since "it is one of the fundamentalproblems of studying metaphysical poetry that an exception can usuallyhe found to every rule" (1'. H~ ). Chapter z, "The Poets" (pp. 20-47),sketches briefly the religious. educational, and poli tical backgrounds thatthe metaphysical poets shared to varying degreesand presents biographicalsketches of Donne (pp. 28-3,), ThomasCarew George Herbert, and AndrewMarve1 1. Chapter ~ ' "The Poets' World" (pp. 48- 70), commen ts onthesociety that the poets lived ill and wrote for, discusses the influence ofthe Courl, and surveys the history uf the period. stressing in particular theimportance of religion in society. Chapter 4, "The Poets' View of the

fohn DonneWorld" (pp. 71-92), discusses the shifting world view in the early seventeenthcentury and changing social structures. Chapter ;, "'111e Shapingof the Poems" (pp. 93-105). comments briefl y on the metaphysical poe .experimentation with stanzaic form and rhyme; discusses the major genressonnets,elegies, hymns, songs, epistles, dialogues, epitaphs; commentsbriefly on stylistic devices. rhetorical figures of speech. spelling. andpunctuation; and discusses the metaph ysical pacts' shared view 011 thnature and funct ion of poetry. Ch apter 6. "The Matter of the Poems" (pp.106-23), comme nts a ll the major subject matter of metaphysical poclrydivineand human love; sin, .ickness. and death : time and eternity-andstresses how the poets bring together disparate ideas and have shared habitsof thou ght. Chapter 7, "Poetry for Pleasure " (pp. 124- 3I), surveys brieflythe history and developm ent of critici. III of metaphysical poetry and 'uggeststhat "twentieth-century readers. perhaps for the first time since tllage of the metaph ysical poets themselves, arc in a position to appreciatetheir work on two levels at least: that of the pleasure of problem-solving.and tbat of the more familiar pleaslife of poetry, the sharing of romeoneelse's experience. the recognition of commo n sensations and shared responsesto the happenin gs of life" (p. 13 I). Selected bibliography (pp.I P -35), list of metaphysical poets (p, 136), and index (pp. 137- 40).~ 991. [IUNKER, OAM. "Donne's "111c Undertaking." Expl 36. iii: 16-18.Argues thal the speaker of "T he undertaking" is not a straightforwardspokesman for Donn e, as usually thought, but is "a sententious, Poloniuslikecharacter" that Donn e sets up "as a target for the laughter and mockeryof the knowing , ophisticatc" (p. 17). Shows that Donne achiev." ironicdistanc e by a "combination of conventiona l usc of theme and language,along with various kinds of inner contradictious in the logical developmentof the speaker's argum ent" and suggests that "the logical subtletiesand the co nventional banalities can be cen a the failings of tal dramaticcharacter invented by Donne more as an ob ject of scorn than a a seriouspokesman for spiritual or Platonic love" (p. 18).~~ 992. Ji'OlmEsT-T IIOMSON, VEROi ICA. "T he poet and his tribe: lradltionand the disconnected image-complex," in Poetic artifice: A theoryof twentieth-century poetry, pp. 8 1- 111. New York: t. Martins Pre :Liverpoo l: ' lIiott Brother"& Yeoman.Discusses the influence of Donne on twentieth-century poets. I Iote:that "in Donn e they found n blend uf discursive imagery and empiricalimagery, or rather discursive imagery disguised as empirical imagery. 1\hichseemed to them of qui te exemplary value" (p, 1) and that they found inDonne "a poet who found ways simultaneously to innovate and to keepin touch with his reade rs ill poems that usc argument plus the presentationof empirical ituations" (p. 82). Discusses attemp ts, c pecially by WilliarnEmpson ami T S. 1~liot. to relate Donne's techniques to tit need.

[197 1 • 39 1o the tw ntieth-century p l. Co rnrnen on Empson' reading of 'T heCro e" and compare,

[197 1 /oh/I DOI/I/l!consciousn as well as to the .urroundiug space" (p. 19). Di. cussc 111mthe speaker of the Devotions. lying recumbent on hi bed, perceive himselfand the world about him in unu sual and different ways, lid how heview' time and eternity infi nity and pace, and lability and motion In\\, y that hape hi treatment of recurrent topic in the Devotion ., . 1111­m nt: c. p icially on imag 0 space that sha pe the Devotions, uch as thebody as a house. pri on. ruined garden, or temple of the Holy piril: thesurroun ding pace and the world as a grave; and heaven a. • "place will IIsp II out total e urity and where contracting and expanding impulsemeet in intimate infinit ," (p, 29),,~ .. 996. . " trntegics of Persuasion in Donn e's Devotions," Anefl'9, no. I : 51-70 .ails Devotions II(JOI/ Emergent Gccasions "an atypical hybrid" (p. ; IIamong dcvotionnl litcmturc and di cusses what it is that attracts CVCIl modemreaders to the work. I iscusscs how Donn e uses formal devices, narrnlivcskill. and .omplcx rhetorical organization to bring the render to greaterpiritual awareness. Show that by the highly dramatic and scarchin qll,dillof the Devotions I onne not only attempts to invoke the reader ill lhcimmediate crisis that he experiences but also allows the render lu discovc:those spiritual crises, of which Donn e' . ickness is onlv a literal l11al llfl.'~·tation. that nrc COmnHII1 to all men a they search and wre tIc with ulnmatequestions.'... 997 , 11..\1,\ . , LltJ E r B. "1 he Pauline Per p clive in I onn . IlcIbert. and rcville," in The Curious Perspective: Literatv and P,drial Wit in the Seventeenth Century, Pl'. 1 6 7- :!O ~ . ew York andLondon: )nle niver ity Press.Discu:ses how manipulation of perspective in late Renaissauce art parallel:in Ill. ny rcsp ct the uses of metaphysical wit in poclry Peine uulthat the Pauline metaphor of the mirror appears frequently in dcvohonalliterature "n. an image of our imperfect understanding" and that "wh reyer it appear. it carries a concern with the limits of language and n d .nam ics of the mind striving for illumin ation against its own darkness" p.1 a). otcs also thai "in the Renaissance the Pauline mirror as urnc riel:metaphoric possibilities by as.ociation with the curious perspective: COllicalor cylindrical 'glasses' could deform images or clarify others distortedanamorp liically, while the range of the word glass now extended to themarvels of the new optic. refracting lenses, pri ' 111• • and tel scop ('pclspcctiveglasses')" (pp, 17;-76). COl11menL~ on how Donn e. Herbert, an I,rc\'illc concern themselves with thc difficultics posed by St. Paul's nhscrvation llral f'll1en man can perceive ultimate realities onI. thro\l~ 1Igla darklv and how they 1I wit a a vehicle to achieve sudden illuminationand insight into tire hidden mysteries that ordinarily Ill' covered\ ith irnperfc t langua c. Di cu e ill particular Donne' u,e. of the 11M •nifying gla and mirror in "Ob equies to the Lord Harrington," hi 1I

\ Bibliography o{Criticism /197 J • 393of mirrors and spy glasses ill "The Canonization." and especially his Pauincvision and his starch for a language of "transparentperception" in the1l1ll1'ersunes... ~

John Donnethe satirical portraits and the Christian psychology of till: poem. Arguesthat afire become. religion when viewed as the application of the 0111'faculties (memory, understanding, and will) to meditation on the natureof true religion. otes how by "offering the correct usc of his own mentalfac ulties as an exemplary alternative to the fai lures which the satiri:t ridIcules,'Satyre II]' intimates that Donne had more confidence in the abilityof satire to effect moral reformation than recent critics have allowed" (p.36). Point out that the poem is divided into three major part. each ofwhich deals with the use and misuse of one of the Iacultie of the soul: (I'the explorer and adventurers of the first section reflect a misuse of memory;(1) the unreflecting and uncritical lovers of the second section . hOl\a deficiency in their usc of reason and understanding and stand in contrastto the speaker who uses his rational powers to scale the huge Hill of"l ruth:and (..) the corrupt suitors and officers of the court in the third sccti I Ireflect the misuse of will as they attempt to manipulate other. or allowtheir wills 10 be manipulated. Maintains that the speaker both dramatizesand explain ' how, by properly using the faculties of memory, understanding,and will. man can cure the sickness of his soul and that "the poemdramatizes the internal process on which man', active life mu the br Ttl"(p. 54)·~ 1002 . . "The Satirist as Exegete: John Donne's Satvre V." TSl.L10: 347- 66.Shows how Dorine's speaker in Satyre V adopts the roll' of all exegeteand attempts to bring the suitor to a realization that, in pite of the r­ruption of the present legal system in England, justice still remains in theworld. Presents a detailed analysis of the poem, notes that it closely followsthe prescribed rhetorical principles for u judicial oration, and commentson its complex organization and structure. Argue. that Donne'intention in the poem is prirnaril . instruction based on the precepts ofChristian charity and Db erves that "the care with which the satirist prescntshis explications of the condition of justice in England evinces hi.fa ith in the ability of man's reason to begin the recovery of values even inthe midst of a confused moral atmosphere" (p. ,61). Concludes that thepeaker of atyre V. "by relying on biblical texts and accommodating themto the situation of the suitor, emerges as a model of reformation of all'garnsters' lacking in self-knowledge" and that "the satirist' own homileticdevotionalprocedures dramatize for the suitor and the reader the methodand means of regeneration" (p. 361).~ 10 03. H OOVER, L. E LAINE. fohn Donne and Francisco de Quew!du:Poets of Love and Death, Chapel Hill:T he University of I orth 'molinaPress. xxix, 116p.Compares Donne and Quevedo as "men of their times and of sharedtraditions" (p, xv) and shows how in their love poetry both manifest aparticular baroque sensibility. Introduction (pp. xi- xxix) outlines the rna-

Bibliograph)' o{Criticism[197 1 • 395or similarities between the two poets and defi nes the intention and scopef the study. Chapter I. "European Love Poetry: Th e Troubadour andI etrarchism" (pp. 3- " 1), discusses the history and development of themour couriois tradition from the French troubadours through Petrarchnd his followers to the love poets of the sixteenth and seventeenth ccnriesand explains how Donn e and Q uevedo fi t into the Petrarchan tra­~ i t i o n and, at the same time. often rebel against it. Chapter 2 , "Love'sRelationship to Time, Mutability. and Id Age" (pp. 32-51 ), ana lyzeshree sonnets by Qu cvedo and Donne's "The Blossome" and "Th e Auumnall"and com ments on how in the love poems of both poet. "thepreoccupatioll with time' effects on the lover. the beloved. or love itselfbestows a poignant tone, at times nostalgic, at time sinister" and notetal both poets "often employ similar metaphor and images in their var­Ied emotional reaction to these seemingly disparate themes" (p. 34). Chapter" "Love's Transcendence of Death" (pp, 52- 88), discusses how both poets[exp ressed the reality of supreme comrnitmcnt, exaltation. and the iranicenclenceof death" in their poems and expressed "their most glorious-affi rmations of love's omnipo tence in terms of death" (pp. 55-,6). Com-- ~a r e s Qucvedo's sonnets with "The Canonization ," "The good-morrow"'The Annivcrsaric," and 'T he Relique" to illu Irate how both poets wereconcerned "with the relationship between Jove and its adversaric - time,iutability, and death" and to show how each "asserts in hi own way love'sranscendencc of these limitations" (p. 6). Chapter 4 , "Absence. Love,, nd Death" (pp, 9-12J ). comments on how in the love poetry ofhothacts "the metaphorical association of death with parting, physical separation,and nonrequital in love reflects an acute sense of loss, an awareessand consequen t fear of its unavoidable absoluteness" and how "thebsence of love or the absence of the beloved correspondingly leads to thebsence of life" (I'. 90). a corollary that strengthens the union of love witheath, Discus.cs "T he Legacie." "T he Computation ," "A Valediction: foriddingmourning." "The Expiration." "A Valediction: of my name. in the~ nd O\\~" and "A Valediction: of weeping," , long with Qucvcdo's onnct .o how the prevalence of the theme of absence in love. Chapter ;. "T hernnipotencc of Death" (pp. J 22-51 l. discus es how Donne and Qu c­rcdo "shared a primordial fear of death s immin ence, its omnipresence,nd its omnipotence" (p. 123). Discusses Q ucvedo's sonnets and "Thearadox,' "1\ nocturnall upon S. Lucies day," "The Dissolution," and "/\Feaver" to show that "in their poetic expression of the metaphysical correspondencebetween existence and non-exi tcucc, between presence andbscnce, between life and death , and between possession and loss, theyeveal the intellectual and emo tional attitudes that characterize the BaoqueWeltcl1lsclrauung" (p, J 51l. Chapter 6. "Love, I lurder, and Death:Dreams and Shadows" (pp. 152-1.01 ). comment on the prevalence of themotifs of the death of love, the beloved-as-murd erer, love as violence. andman's inability to distinguish reality [rom illusion, dreams, and fantasy.Discusses "The Will," "Loves exchange." "The Darnpe," "Elegie X: T he

fohn DonneDrcarnc." "T he Funcrall." "T he Apparition," "Farewell to love," and ":\Lecture upon thc hadow" as examples of disench antment with love andof nihili. 1T1 . Conclu ion (pp. 2O Z-1O) summarizes the preceding argumcnts,shov s in microcosmic fashion the similarities between Donne andQu cvcdo as baroque poet, and suggeststhat the originality and authenticityof both poets resides not so much in thcir choiec of themes as ill thenability to perceive the paradoxes of life and to portray intense feeling andcomplex thought. I otes (pp. ZII-I,), selected bihliograph (pp. 21 7-2~ ),and index (PI'. 22 3-26 ),~~ 1004. H URLEY, C. H AROLD. "'Covcring' in Donne's 'Elegy XL':"cr 1 1 , no. 2; 67-69.Points out that the word covering in the final couplet of "Co ing to Bed'is a sexual pun and has a treble significance; "It suggests the conventionalclothing imagery that comprises a large part of the poem; it unifies thelatter portion of the poem by playing-off against the words 'discovering'and 'coverings': but must importantl y, the com mon subaudirion of 'cuvcring,'meanin g 'the , tullion copulating with the mare,' vividly dramatize ,in a summary point of wit, the narrator's triumphant sense of power ill til l:sexual mastering of his mistress" (p, 68).~~ 1005. lzuaucm, HIROSHI. "Yea ts no Donne 'Hakkcn' " [Yeats's Di ­cover)' of 1 ounc]. EigoS I Z4: 36,- 68.Briefly comments on Donne's influence on Ycats. otes that &0 111 Donne,Yeats learned to add terseness to his more extravagant and romantic I riocism and maintains that Donn e also influen ced the structu re of . (Jll1C 01Yeatss poems, e pecially his dialogues. as well as his expository te h­niquc . Suggests that Donn e's poetry was not completely antithetical toromantic sensibilities but showed how the supernatural and the naturalworld could interpenetrate and coexist.~~ IOO(l. JAl IN, J. D. "The Eschatological Scene in DonnesA Valediction:Forbidding Mourning.''' CoilL 5: 34- 47·Argues lha! the deathbed scene set up in the first two stanzas uf "i\Valediction: forbidding mourn ing" is thccontrollii1g metaphor of the entirepoem and "correlates Dorine's erotic consolation with an underlyingpattern of death and resurrection. of dissolution and reun ion to illustrateDonne's creative procedure" (p. 34). Discusses the eschatological logic ofthe poem, shows how "last events such as the dissolution and transmutationof the body, the rc. toration of heaven and earth, and heavenly marriageprovide a deep tructure for Donne's erotic wit" lind explains hm\"even metaphor drawn from astronomy and alchemy as well as the IXlCII1'striking analogy of lovers to a compass, ultima tely stem from c chatologicaldiscussions" in which they function "as similitudes to explain sup I­natural mysterie " (p, 4 3). Maintains that the poem remains primarih il

A Bibliograph )' o{Criticismsecular love poem but shows that "the correspondence between eschatologyandpassionate love at least intimates a time when those lover will nolonger be bound by the limits of earthly lime and space, when physical.eparation will be a impo sihlc for them a spiritual separation is now"(p. 44). Points out a imilar pattern of eschatological consolation in theDevotion upon Emergent Occa'ions and notes that Donne uses c chatologicalmaterial in a number of his other love poems.~ 1007 . JONES, R. T. "John Donne's ' ongs and Sonets': Th e PoeticValue of Argurn nt." Theoria 5I : 33 - 4 ~.Argues that one of the most engaging features of Donne's poetry is hi.ability to achieve "direct colloquial expression of a felt exp erience momentarily,against some strong internal resistance that gives it a specialforce, even a violence; that he has to fight to hold on to the reality that hebas grasped" (pp. 34'-3 5). Suggests that a tension between sensibility andintellect can be detected in almost all the Songs and Sonets and that thereisfrequently the "pressing problem of how to justify the felt apprehension,to procure the mind's connivance, even perhaps to bludgeon the poorintellect into a worried acquiescence" (p, 37). Comments on "T he SunneRising" to show that the primary tension in the poem is between Donne'"conviction of the transcendent supremacy of love and the unreality of theordinary world" (p. 36), late that I onnci arguments in such poems a"Death be not proud" or" he Fica" arc often bad argumen ts or, at least,provi ional one , but that the reader. nonetheless. "admires in Donne hirefu al to be intimida ted bv rca,on: hi. uncompromising affirmation offelt conviction, followed by the 'wrastlc' of the intellect to catch up and todeal with the implica tions of the fclt truth" (p. 39). Di cus c incerity inDonne' poem and warn again.t over. implification: "There is an elementof performance in the poem " (p. 40). Show that the argume nt of"The Flea" is used "a a form of love-play" (p. 4 1) and reveal a verycomplex relationship between thought and feeling. Quotes Raquel Welch,who said that "rille brain is an erogenous zone." and suggests that "Donne,by this account, knew more than Dryden about the hardnesses, if not thesollnesses. of love" (p. 42).~ 1008 . KAUL, R. K. "I onne and Webster: T he Air of Reality." RUSEng I I : ~ 7-3 0 ,Discusses how the satiric passages in Webster and Donne contain numerousreferences 10 contemporary economic conditions and current politicalevents and "give us a feel of the streets of Jacobean London ratherlike Ben [onsons comed ies" (p. ~ 7 ) . Points out specific references in "lovesgrowth," "[calosic," "T he Anagram." "The Comparison," "The Bracelet,""A Talc of a Citize n and his \ ifc," "The tonne," and "T he Will." ContrastsDonne and Webstcr to hakespca rc and concludes that hakespeare'play lack the topicality found in Donne and Webster.

la/III 0 01111t4l) 10 0 9 . K,\\V A. " 1\1. III1 CEIIII\O. "Image no Okuyuki: 'Me ga "'11:1 n1l1koto ni suitc'" [T he I cpth of Imagery: Propagation through the E~'c lEigo I :l.r PO-24.Comment on the .cxual implication. of some of the image III '~ I heExta ie." Discu the meaning of the allu ion to "looking-babi "in lin9 - 12 of the poem and explains the importance of thi image of propagationfor an under tanding of the poem as a whole.t4 ~ 10 10 . K,,\\', '\1\ 1. T SIIIIUKO. "Donne to Mannerism no Ka unni"[Donne and Mannerism of the Mirror], in Kagami no l\ /llIl Il I!TlSI/I 'Renaissance Sozor)'oku 110 Sokumen [1Ianncrism of the Mirror: 11Aspect of lrnagination] (Kenkyusha Sensho I). pp. ; ;-150. '!ilkyt:Kcnkyusha.Discusses how man nerist poets and artists employed the metaphor ofthe mi rror and used images of reflection in their work. Examincs ill somedetail D0I1 11':'S uses of such metaphors and images in his poetry and thussees Don nc as a rnanncrisl poet.~ 10 1 I . Ksuss. C . K. "Poetry as Anti-Language: t\ Reconsideration ofDonne' 'Nocturnall upon . Lucies Day: " PTL: A lounJa/(or l ­scriptive Poetics a tu} Theo1')' o{Literature 3: 3:l7-.H.Presents a detailed linguistic analysis of "A nocturnall LIpan . . Lu Ie.,day" to show that the proce . of negation "permeates every facet () thgrammer of the poem" (p, 330). Discus e aspecb of I anne' "anti-Ianguage"and . how how this language faithfully reflects hi tate of nund IIIthe poem. uggests that only in this poem is Donne able to give tol

A Bibliography o{Criticisl1Ithat in the second stanza Donne may be asking forgiveness for his failurestoward his wife and for his infidelities and suggests that in the final stanzahe comes to recognize that he has completed the negative way and "nowhe can leap to the transcend en t union whereby not having anything he"ill have Air' (p. 9 2). Points ou t that the SUIl /SOIl imagery rein forces theotion that Donne and his wife will be reunited in heaven as a result ofChrist's resur rection.~~ 10 13 . L INGUANTI. E LSA. " Una crisi di iden tita. 1\ Ht dcgli - HolySonn ets- di John Don ne:' ill Critical Dimem ions: English, Ce rmc nand Comtara tive Literature. Essays in Honour of Aurelio Zanca,edited by Mario Currcll and Alberto Martin o, pp. 20 1-19 . Cuneo:SASTE.Combines structu ralist ana lysis and traditional rhetor ical classificationin examining the language, structure. and them e of "O h. to vex me, contrarycsmeet in one." f inds in Don ne's lISC of antithesis and paradox abinary describing soul and body, its equilibrium interrupted by the intru ­sion of triadic forms symbolizing Cod. Maintains that the them atic content,as revealed through semantic patterns. shows that infidelity to Cod,the beloved. or self is a form of destiny, not chosen behavior, and thatecstasv, wheth er erotic or mvstical, is a disease. Concl udes that the alie n­ation and conflict revealed l ~ y the poetic "l" express doubts tha t characterizeseventeen th-c en tury thought.~~ 10 \..1 , LISVlu .E, S USAN. "Donne's 'Holy Son nets IX: " Expl 36, IV:21-22.In part a reply 10 Stanley L. Archer (entry 29 1). Argues that "If poysonousmin cralls" "mo ves from prideful disputation. in which reason attemptsto exempt itself and man from the special position it places himin, to a hum ility whic h recognizes both the rational claim that man'sculpability should not be forgotten. and the supra-rational process throughwhich Christ's sacrifice and the speaker's contrition can cancel out tha tdebt" (p. 22 ). Suggests that such a reading "restores the poem 's moral andthematic integrity by showing how its conclusion is related to all its parts,and does so with the need of emen dation [Gardner] or reaching too faroutside the text [Archer]" (p. 22 )...-~ 101;. Low, A J';'l110 NY. Love's Architecture: Devotional Modes in Seventeenth-CenturyEl1 g l i .~" Poetry. (T he C otham Library) New York:New York University Press. xix. 307p.Discusses four maier modes of devotion that shaped Engli sh seventeenth-cen tury religious poetry: (I) vocal prayer (including hymns andsongs), (2) meditation. (3) sensible affection, and (..ll contemplation, ChapterI . "Poetry and Devotion " (pp. 1- 9 ). discusses the impo rtan ce of devo-

John Donnetional techn iques to an understanding of seventeenth-century poetry. outlinesbriefl y the four modes of devotion, and define devotion and devotionalpoetry. Chapter 2, "I ivine eng" (pp. 12-35). comments on thedevelopment and use of metrical psalms, literary psalms, hymns, and musicaltexts in English devotional life of the period. briefl y comments onthe influence of devotional music on Donn e's poetry and his belief in itspower to move men's hearts, ami discusses the importance of acred iongto the development of stanzaic forms and structures, hapter 1, "JohnDonn c: Liturgy, Meditation. and Song" (pp, 36-81). di cusses the importanceof discursive meditation for Donne's poetry. calling him "the mostpurely meditative of English poet ,. (p. 40). and comment n Donne'sbackground, training. and natural disposition that formed his religionsensibility. Analyzes La Corona to show that it is a mixture of devotionalmodes-s-partly vocal prayer and hymn and partly meditation , Points outits impersonality and suggests that the language. method. and tone of thpoem nrc, in part, liturgical and hyrnnlike. Notes that "t\ Litnnie" is alsosemi-liturgical and, agreeing with Gardner, calls it Donne's "most charactcristicallyAnglican poem" (p, , 2). Shows that in the Holy SonnetsDonne "turn to Ignalian meditation for the structure and texture of hispoetry and the primary method of his devotion" (p. )7 ) and discu .es thefirst twelve sonnets (according to Gardner's ordering) to . how the pervadingin fl uence of discursive meditation on individual sonncu and on theseque nce as a whole. Analyzes the devotional mode of "Coodfriday 1613.Riding Westward" and calls it "the best of his verse meditations" (p, 7 11and suggests,.iliaLU on thc Translation of th e Psalrru( "i~ t ra o r d j ­IHlfY praise of sung devollon, which Itse . mir~ ic s the salms f ~'l i s c andbecomes il vocalpraycr"l p. 7 1f Maintains that Dorine's h -rnns arc alldirect prayers 0 Godm 1d notes that "they make no attempt to build coherentscenes or achieve more than fleeting composition of place" (p.76). Calls "Hymne to C od my C cd. in my sicknesse" "the most continuallconceited of Donne's devotional poems" (p. 7 ): sees "A Hymne toCod the Father" as a penitential hymn; and sugge Is that " H. rnne 10Christ. at the Authors last going into Germany:' an emblematic hymn. i."the closest Donne came to the somber hut confident st -lc of the greatProtestant hymns" (p. 78). Concludes 11

1\ Hibliograph r of Criticism~ ~ 101 6 . i" I,\ 3130""", TfI U~I /\ S O. "Observation on Poets and Poetry." 8129: 1.1 - ~ - .Presents ex erpts from the note and letters of ' 11 iorn as . Mabbott toMaureen Cobb, later Mrs. Mabbott. mostly written during ' 92'3 and J924,that contain his ob:ervations on variou pact and on poetry, elected bvk . 1\ labbott. Comments bricfl: lIll Donne's poetry (pp. 17- 1 ), notingthat "the conceits, subtleties. and indeed everything characteristic of whatDr. [ohnson called the metaphysical school is, I think, rather at war withtrue poetry-and with Donne, remember thnl he is

fohn Donne~ ') 10 J 8. I IAN , LI NDSAY A. ..'The Extasie' and 'A alediction: ForbiddingI lou rn ing': 130dy and Soul in Donne," in Familiar Colloqu)l;Essa)'s Presented to Arthur EdwardBarker. edited by Patricia Bruckmann,PI'. 6 -80. Onta rio: Oberon Press.Discusse. Donne' view of the relation of body and soul, particularly asit is refl ected in "The Extasie," "/\ Valediction: forbidding mourning." andthe later prose. to show that his primary concern was "with the proce .that brings bod)' and soul, natural and spiritual, into relation" (I'. 6 ).Argues that for Donne the relationship between true lovers "reproduce'the ideal relation of body and soul" (I'. 68) and is a means of harmonizinthe two. Shows that both "T he Extasie' and "A Valedictio n: forbidd ingmourn ing," in spite of some differences in emotional effect, imager)'. language,and tone, "assert and depend upon the same attitudes, and thevare attitudes that Dorine develops explicitly in his later prose" (pp, 69­70). Maintains that the poems "do [Jot rest upon any mystical idea oflove,but upon the active interrelationship of the lovers, on the 'spirits' thatvitalize every human act," and argues that, although both poems makeuse of religious concepts, they work primarily "because they give LI S themeans to rccon tru ct the experiences they only adumbrate" (p. 77). Arguesthat for Donne "body and soul. human relations, human love, canparticipate in the divine myster ies" and that" although usually imperfectlyrealized in this world. "in making the effort to live up to the ideal pattern,lovers participate immediately in the eternal life promised by faith"(p. 78).~ ,. 10 19 . i\ 'IARCUS, L EAH INANOGLOU. Childhood and Cultural D/!-spait: t\ Theme and Variations ill Seventeenth-Century Literat urePittsburgh: Universi ty of Pittsburgh Press. xii, 30 51'.Comm ents bri Hy on Donne's attitudes toward original sin and 0 1> 'Cf\'Cthat he hedged on the question of salvation for unbaptized infants (p. 491.Discusses also Donne's view of word play. noting that for him "the playoflanguage serve the same harmonizing function as the play of the liturgy"and that "sacred word games arc a mimetic recapitulation and validuu JI1of the divine plan which ovcrarches the apparent formlessness of everydayhuman life" (p. 10 9 ) . Notes briefly also that Donne distrusted "monkish"self-abnegation (p. 141 ).~ 10 20 . M EAD, DAVID C. "'Arms and the Man'-A Note on 'Prulrock.'"YER 5, no. I : 2 1.Suggests that Eliot's use of "arms" in "The Love Song of J. Alfred Prufrock"as a symbol of female sexual attractiveness "permits a sugge liveallusion to Donne's 'The Relique."~ J0 2 1. M ILLER, R. H. "Ernest Hemingway: Textual Critic." FilA pp345- ,n ·Discusse. Hemingway's old-spelling text of the epitaph of For Whom

A Bibliography ofCrilicismthe Bell Tolls from Devotions upon Emergent Gccasions. Notes that Hemingwaylookthe pas age from Sir rthur Quill er-Cou h s The Oxford Bookof English Prose ( H)2 - ) and that he made fifteen alterations (two incorrect)in the galley. Points out that apparent! . the galley wa al (J carefully checkedagainst the Oxford Book text, for the two incorrect alterations do not appearin the first printing of 1940 . otes that a recent re etting of the textby cribncrs introduces a new error. Collates the galley proof, Hemingway'autograph revi ion in the galley proof. the 16:q edition of the Devotions(STC 7033 • and the first printing of the no el. Conclude thatHemingway obviou ly "wanted Donn e's prose in its seventeenth-centurypurity, and he did a good job of getting it" (p. 346).~9 10Z::? . Mru\,,\HD, PE EH, S. J. Religious Controversies of the/cJcobeanAge: A Su n'e)' of Printed Sources. Lincoln and London: 111\'er ityof Nebraska Press; IIkley, Eng.: The Scolar Press. xi, 2641"Lists Pseudo-Martyr (1610) and places it within the historical context ofthe controversy waged over the Oath of Allegiance commanded by [arne:I. Lists other works involved in the controversy. J 'otes that Th oma. Fitzherbertattacked [ onne's defen c of the Oath ill A Supplement to theDiscussion of 1\-1. D. Bar/owes Am:lI'ere '10 the ludgment of a CatllOlikeETlg li ,~ llTTlQll . . . ( 16 16). Lists both the Latin and English versions of lgnatiuihis Conclave ( 16 11) and places the work within the context of anti­[e uit literature that appeared in I~ n g l a n d during the early evcntccnthcentury. uggests that Donne wrote Ignatius "in a light, satirical vein afterhis more serious labour spent in defense of the Oath of llegiancc inPseudo-Mart),r ( 16 10)" (p. 127).~~ 1023. ~ (OHrLL , I\(ARVI.. "The Date of I onnc s The Canonization:"~r&Q n. '. ::? 5: 50;-6.1\ repl ' to Susan Burchrnore (entry 90Z). Ch allenges Burclnnorc s evidencefor dating "T he Ca nonization" after 1606 and possibly as late as160 /1609. Argues that, "although none of the internal evidence compelsa date aroun d 1603. all of it, in conj unction with the apparent disharmonicof poem and life after 160 , make the earlier date a good dealmorc 'solid' con jecture" (p. ; 06),~~ 1O::?4 . N AJ lA, JOliN, AND P. J, KLEi\IP . "John Donne's La Corona: Accond Structure." Ren&R n.s. z: 49- 54.I otes that Donn 's inclusion of a seventh sonne t in La Corona "createsa situation in which one sonnet is placed in a cntral or axial position"which "allows the remaining sonnets to balance or answer one another"(p. 50). Shows how "the number seven in the num erological traditioncarrie meaning that complement the circle imagery and the content ofthe poem" and points out how Donne's use of time imagery" how howthe symmetrical structu re of the sequence functions" (p. 50). Points out,in addition. two other general patterns: (1) a movement from ,od the

foh 11 DOl1lleFather (Sonnet 1) to C od the Son (Sonnets 2-6) to C od the Holy pllil(Sonnet ) and (2) a movement from night to day, from darkness to lightComm ents especially on "Temple," the fourth and central sonnet. a. nmicrocosm of the whole requence and shows how it "is important becnu cthe star ' carries with it the idea of centrality, foreshadows thc rc urrc tion.ami concerns it elf with the theme of education through the revelation ofthe " ord of Cod " (p. 52). Shows how the remaining six onnets. balanced( around "Temple," answer each other and also discusses how the highI}elaborate uses of rhyme reinforce the meaning of the whole equ ence.~~ 1025. PMTRIDCI::, • C. fohn Donne: Language and Sty!«. '111t·Language Library, edited by !Lric Partridge and David Crystal.) L Oll'don: Andre Deutsch. 259p.Presents a linguistic and stylistic analysis of Donne's poetry and proseprimarily through a discussion of and notes on selected works from variousgenres and periods of Donne 's life. Comme nts on selected biographical.historical, and textual information as it relates to the various explicationsof individual works. lotos Donne's "delight in squeezing the utmostmeaning from words" and suggests that in his poetry "dramatic prcsentationof ideas. originality of phrasing and disregard of formal syntax UH' r·shadow other considerations of style" (p. 10) . Discusses such matters 3\DOIlIIC's uses of diction, imagery, and conceits; metrical and stanzaic form ~rhyme .chemos. pau cs, speech rhythms; orthograph y, punctuation, contractions,elisions, capitalization, and italics; tonc and voice; grammar andsyntax; analogy, argument, and wit; and numerous rhetorical devices. DIvidedinto ten main chapters: ( 1) "Donne's Use of Language: The ElerJw~and Paradoxes" (pp. 15-35); (2) "T he Sat yres, Metemps}'chosis he Prog·resse of the Soule]. and Verse Letters" (pp. 36-6;); (3) "The Song andSonets" (pp. 66-97): (.~ ) "Anniversaries, Epicedes, Obsequies 11l1c1 Epl.thalami a" (pp, 9 - 1 2 6) ;1 ~ ) "The Divine Poem s" (pp. 127- 54); (6) "MiscellaneousProse: Biatlianaios. Pseudo-Martyr. Ignatius his Conclave. andThe True Characterofa Dunce" (pp, 155-73); (7) "The Prose Letter" (pp.174-90); (8) "EssC1 )'e ,~ in Divinit» and Devotions upon Emergent Oc(,'(/·siom" (PI'. l

\ Bibliograph» o{Criticism~ 102 7 . . "The 'Everlasting Night' in Donne's 'Hymne to Christ."ES 59: 11 9-2 0 .Di agrees with Helen Gardner, who in the commentary of her editionof The Divine Poems ( lC) 52) uggcsts that "Everlasting night" (line 32) in"A Hyrnne to Christ, at the Authors last going into Germany" refers toeath and that in the conclusion of the poem Donne is prayingfor a literaldeath because of his unhappiness over the death of his wife. grees withWilbur Sanders's interpretation in /o1ln Donnes Poetry' (entry 366) that"'Everlasting night' represents not death, but 'awe carried to the supremepitch which is darkness. .tillne 'S, nothingness" (p. J J9). Show that inletters to his friends in the spring of J619 and in his "Sermon of Valedictionat my going into German ," written at the same time as the poem,Donne does not indicate despair nor a wish for death. Suggests that "toread the poem with Donne's supposed death wish in mind is to risk confusinga most mature and profoundly spiritual utterance with that 'sickclyinclination' to suicide which I onne both regretted and renounced in hisyouth" (p. ] 20 ).~ 1028. • "The 'Hurmoniou: Soule' in Donne's 'J-1ymne toC hr ist." AN&Q J7: 2-,.Suggests that "The arnorousnessc of an harmonious Soule" in "A Hyrnneto Christ. at the uthor last going into Germany" (line ]8) may refer "tothe condition of one' living in peaceful. loving accord with one's neighbor"(p. 3). Points to Donne' "Sermon of Valediction at m. going intoermany," written for the arne occasion that the poem celebrates, andnote that "Donne's concept of harmony as presented in hi sermon servesto emphasize the idea that 'arn orou nesse of an harmonious Soule' is alove which i offered to a large extent directly to one's fellow man and notspecifically to God" (I'. 3).~ 10 29 . PRESCOT )', ANNE L AKE. French Poets and the English Renaissance:Studies in Fa me atul 'freJ/ls{ormatio Tl . New Haven and London:Ya le University Pres.. xiv, 290P.Notes thai Donne had probably read some of Ronsards love poems andsuggests that. in spite of many differences between the two poets, "severalpassages in Donne strikingly resemble similar moments in Ronsards poetry"(p. 1 ] 3). Points out specifica lly certain resemblances between "TheFlea" and Ronsards sonnet "Cusin monstre a double ailes," "Batter myheart" and "Foudroycs 1110 i le cors," and "The Canonization" and Ronsardselegy to Marie that begin "Marie, a celie fin." Recognizes that manypossible parallels call be accounted for by the common heritage that thetwo poets shared but suggests that "Donne might have recognized in Ronsarda writer particularly fascinating, like himself, for a carefully modulatedvoice and sense of elf, an often dramatic relationship to the hearerwithin the poems, varying rhetorical poses, and radical inconsistencies"

John Donne(p. I I , ). Noles thut Donne may have parodied Du Bartas's Weeks in TheProgre« e of the SOllie.~ 1030 . ROTll 'CHILD. HERBERT, In, 'The 'higher hand' in \Valton :~ 'Lifeof John Donne:" N&Q n.s. 'z5: 506 - .I ote that in the 165 edition of his Life of Donne Wdlton expandedthe narrative accoun t of Donne' decision to enter Holy Orders and add ·da covertly polemical passage to show that Kin g James had been an indipcnsahlcvehicle of Co d's grace in bringing Donn e to his decision. uggeststhat. although the overt compliment is attributed to Donne himself.it was, in fact, Walton', way of linking James and C od "in a manner sotypical of tuart divine-right theory and Cavalier compliment" (p. , 0 ).~~ 10 3 1. SELDEN . RAMAN. "T he Elizabethan Satyr-Satirist," in EnglishVerse Satire 159()-1 76 " pp. 45-72. London: George Allen & Unwin.Discusses the development of English formal satire during the I 590Sand suggests that Donn e's satires"combine the 'mixed style' of Cornplaint ,a scaring post-Reformation individualistic vision, and the sophisticateddramatic compression of classical satire" (p. 65). Praises the wit and imageryof Donne's style and compares him to Persius and Horace. Explicatesbriefly alyre 1 and Sutyre TV , calling the latter Donne's "nearestapproach to a cia sical model" (p, 63).~~ 10"'Z. I~LL IN . p" I" "The Date of John Donne's 'Satyre Ill:" SeN36: 1 - .John W Moore. [r., reports on Sellin's paper delivered at the MLAmeeting in 1977. Notes that Sellin pointed out an allusion to a polarexpedition in the poem that Donne could not have known about before159 - 16o z and argues that, on the basis of simila rities between a Dutchmedallion and a famous conceit in the poem , Saiyre III could not havebeen written until after .I 6:w .~~ 10 3 3. S l lA I7E I ~ , [LIm N. "Eliot Rc-Donne: The Prufrockian Spheres."YER 5. no. z: 39- 43·Suggests that Eliot had in mind line 12. of "A Valediction: forbidd ingmourning" when he wrote the lines "Do I dare / Disturb the universe?" in"T he Love Song of J. Alfred Prufrock" and calls the lines "a telescopedallusion to Donn e's conceit that compares idealized love to a disturbancein the univer c'' (p. 39). Points out other imagistic parallels between thetwo poems. such as the illness-death conceit, the uses of "let us" at thebeginning of ea h, and the references later on to eyes, hands/arms. Suggeststhat the allusion to mermaids inging in Eliot's poem may be a borrowingfrom " ong: Coc, and catche a falling starre" (line ; ). Commentsal: 0 on Eliot' intense interest in Donne during his "Prufrock" period and. uggests that Eliot's attempts to ama lgamate disparate experiences, to rna-

A Bibliogra ph)'o(Criticism [1978] . 4° 7nipulale thought and imager): and 10 pre ent highly complex moodsand emotions were influe nced 1>.1' llis intimate ncqunintuncc with Don ne 'poea«:!~ .10)..1. . Sxst.ro: , R BIN. "Joctry and Relativity: ' in Poetic Tru th, pp.56- 75. London: Heinemann: I lew York: Barnes & able: Agincourt:T he Book Society of Canada.Briefly com ments on "At the round earths imagin'd corners" (pp. 67­58), noting that "in order fully to comprehend the poem, we are unde rno necessity to believe the stor " for the poetic force lies in the passionatednguish of the speaker, and in hi sense of his own guilt" and that "that~ lIl g u is h and guilt are universal; they do not depend for their existenceupon any particular dogma" (pp, 67-(8),~~ 1035 . STANWOOD, P C . "John Donnc s Sermon Notes," RES 2C): 313­2 0 .Describes in detail notes made by a contemporary, John Burley (or Burleigh),of two of Don ne's sermons that he had either heard or perhaps seenin a rough copy of Donn e's notes in late 1625 and compares Burley'snotes, now in a manu script volume in Trinity College, Dublin, MS. 41 9.I'ith the corresponding passages ill the published sermons. Points out thatthe notes "let us view more clearly Donn e' activities at this time, plausiblydate a previously undated icrrno n, suggest the likely time and occa:ion ofa series of sermons, and additionall ' provide the earlie t manu script noticewe have so far of Donn e's prose" (p. 3 13). otes that no autograph note.S U f\~ve and comments on onnc' usual practice of preaching from memorizednotes and on his practice of writing down errnons only if he thoughtthem later worthy of publication. lote that, "while we cannot know exactlywhat Donn e said as opposed to what he wrote, Burley's notes doI ring us nearer than we have ever been to Donne's actual preaching, toi fi rst thoughts as contrasted with the eloquent contrivances of his latertudy" (p. 317).~~ 10 36 . SULLIVAN, ERNEST W. II. "Bibliography and Facsimile Editions."PBSA 7"2.: 327-29.Points out minor errors in the Arno Press 1C)77 reprint of J. WilliamHebel's [olu: Donne: Biathalla{oH(New York: Th e Facsimile Text Society,1l930), and further notes that. since Hebel's original facsimile reproducedhe quarto first edition of Biathanatos rather than the more reliable textof the manu script in the Bodleian Library. the reprint "has only limitednsefulness" (p, 327). Notes also that Hebel used a suspect copy of Bia­Ihanatos for his original facsi mile and that "someone extensively doctoredthe photographs used in its production" (p. 327). Concludes. therefore.hat Arno Press's "failure to apply bibliographical principles and informaionha re ulted in an edition of no usc to cholars or students" (p. 329 ).

fohn Donnet.o"!{) 1037. . "Fine Paper Copies of Donne' Biathanatoi (1646 J:'BC 17: 1-t\ ks for information about three po sible fine-paper copies of Biaihanatosand about any other copie containiing fine paper or presentationmaterial . ote that all five located fine-paper copies contain pre entationletters by I nne tit younger.103 . . "Manu cript Materials in the ' irst Edition of Donne'Biathanatos. ' B 3 1: 2 10- 21.Describes fi rst-cditiou copies of Biathanaios printed on fine paper and/or containing manuscript corrections. inscription , and pre entati u leitersand suggest that they prove that "(1 the undated first i.. ue wa: publishcdin lat eptern ber or early October of 16.H , (1) some copies wereespecially printed for presentation, although others were also presented topotential patron ', and (3) the younger Donne, who edited Biathanatos,certainly authored some of the corrections and very probably made themall" (p. 2 1 I ) . Notes also that the previously unnotcd letter ill the prcseutationcopy to the Marquis of Newcastle "proves that Biailianato« circulatedin manu cript, identifies and graces the genesis of the manus riptwhich became the printer" copy. and uggests that the younger I unlit'participated in that genesis" (p. '1 1 I ).• ~ 10 39. ZEN 7.1, ivlI KL ' . "Question de periodi:ation d la renaissanceanglai. co" in Litterature de fa Renaissance: a fa film ier ' derecherche ovietique et hongroi es. edited by 1 ' . I 1331a hm , 'IKlani zay, and A. D. t\likhailov, pp. 295-3'16. (Publications duentre dc Recherche: de lc Rcnai ance , 3.) Budapest: AkadeuumKiado.Pre ent a general biographical ketch of Donne and di CII his IXIctrvin relation tu earlier tradition . e pecially Petrarchi m. Review' the liislnrvof the critical reaction to I onne. Argues that pcriodization of lilcralnr .mu: t be made on the ba i of ocial evolution rather than on tvli rccon idcration: or political and historical events.~ ~ 10 4 0 . 'I' " "lIr\SIIl. Y" SUN,\RI. "Kyiitai Censo: Donne Rcnni hi 1-.::111 ­ken" [Th e Illusion of the Sphere: t\ Viewpoint on I onncs I (J"CPoetry] . Eigo: 124: 306 -C).I iscusses the conceit of the sphere ill the Songs and Sonets, mill ' "'1'1regood-morro. "a all example. Analyzes also related images, such as breasts.dens, wombs. world. and eyes.~ ~ 104 1 . T um-II ON. IST E({ I I. G ERALDINE. "' Wriu Canonical!' 'I heHigh Word and the Humble in the Sermon of [ohn I onue." 111Familiar ColluqlJ ': •S a y.~ Presented to ArlhlJr Edward Barker, editedby Patricia Bruckrnaun. pp. 5-- 6; . ntario: Oberon PreDi cus e I OI1I1C' , on cpt of the decorum of language in cnuon

A Bibliography of CriticismNotes that throughout his life Donne recognized the redemptive power ofwords and that in his later life he was "acutel y conscious of the bondbetween poetry and sermon" and "pondered well the intricacies of homi ­letic decorum" (p. 56). Shows that Donne did not always reject high eloquenccin favor of the sermo humilis but developed a sermon style thatwas "flexible enough to include the highest and plaine st within the compassof every sermon" (p. 59) and that a striking feature of his style is "thefrequency of the simplicities amon g the majesties" (p. 58). Discusses thefour abilities that Donne regarded as essential for the effective preacher:"He mu st strive to be a trumpet to awaken the hearer to a fear of God; hemust then be one who sings of the mercies of God . . . ; he must be inmanner reverent yet diligent and 'thereby' delightful; and finally he mustshow by example and conversation that his own life is consonant with hispreaching" (p. 68).~~ 1042 . WELSH, ANDREW. Roots of Lyric: Primitive Poetry and iVIodemPoetics. Princeton: Princeton University Press. ix, 276P.Discusses briefly the relation ship between riddles and metaph ysical poetry(pp. 39-44) and points out that both riddles and metaphysical imagesevidence "a seeing into something in a manner that leads to a valid wayof knowing" (p, 40). Comments on Donne's uses of riddles in "Loversinfinitencsse," "The Sunne Rising," "T he good-morrow," and "Hyrn ne toGod my God, in my sicknesse." Briefly compares Donnc to Robert Creeleyand Dylan Thomas. Also comments on Donn e's usc of pun s, especiallyin "Coodfriday, 1613. Riding Westward."~ 1043 . WENNERSTROM , MARY H. "Sonnets and Sound: BenjaminBritten's Settings of Shakespeare, Donne, and Keats." YCGL 2T 59­6l.Reports on a workshop on Britten's musical settings of poems by Donne,Keats, and Shakespeare at the Lilly Conference on Literature and theOth er Arts held 2-4 March 1978 on the Bloomin gton campus of IndianaUniversity. Notes that Britten's setting of Donn e's "At the round earthsirnagin'd corners" (194 5) was played and then analyzed "in terms of theunion of poetic and musical elements" (p, 60). Points out that the sessionfocused on the problems that a composer encounters when he attempts totranspose from onc artistic medium to another or when he tries to combinemedia.

Addendum.~ 1044. \\'Ol'\G. roo~ . w ." 11- Yua ll Kuei }'ii shu; cbing [A ComparativeStudy 0[ '1\\'0 Metaphysical Conceits in the Poetry of Chia l ilt) ami[ohn Denne]. (Institute of Humanities and Social Sciences. Collegeof Gradua te Studies. Nanyang Univcrsitv Occasional PaJX'f Series.No. j61. Singa pore. 19i7. i Sp.Text ill Korean; abstract in English tp. 18). Discusses the nature andfunction of the metaphysical co nceit. distinguishing it from the Pctrarchanconceit. Noles thai Chia Tao, a ninth-century Chinese pod. ill h i~poem "Io a Friend" COlllpares the process of writing a poem to thai ofdrawing water from a well and fi nds many striking parallels between thisconceit and D OI lIlC'S ClllllJxm conceit in "A Va lediction; forbiddingmou rning:" Argues, therefore. that, althoug h Donn e and Chia 'lao comefrom totally different litcmrv traditions, the metaphysical conceit "is ;111iutcnuuionallitcrarv device" (p. t8),~ , o

Ind " X f uthor ~ ditors,and TranslatorAbad, Ccmino H.. 970deli on. Joseph. 64

Author IndexCampbell. Gordon. 6z8Ca mpbell. [auc . 39-1Campo, C ristina. 306Cara cciolo-Trejo. E. • 755Carew. Thom as, 94 . 57-1Carey, [uhu, 18-1Carleton. Frances Bridges. 90~Carl son. Norma n E.. H8Carruhers. Calc II , Ir.. 195Castagna . Andre, 18:;Cathcart. Dwight , 7PCave. 'terence. 69CC

.Author IndexEv erett, Barbara. .p S, 486Evetts-Seeker. Josephine, 4 14, 915Fabry, Frank, 734Fallon , Keith. 200Farley-l illis, Davi{l, 640Fanner, Norman 1\., [r. . 205Faulkner. Eleano r. S :1.~Fender. Stephen. 66zFernandez Suarez, Jose It ull l}n. 64\Fcna n. Fcrruccio. 742Fcny, Anne, 74 3Fielding. Edwina, 82Fiore, Peter Amadeus• .r ae . 421Fischer. Hermann, 307Fi ~h , St.l.Illc:y E.. zoo. 3oS. 422Flatter, Richard. (n5Fleissne r. Robert F.. 642Flurkcr. Nnarn, 991Ftuchcrc. rlcuri. 8:4Flynn. De llll i.~ , 83. 54Q. :;:;0. 7+~,lb 5Forrest, Will iam C raig. 13Forrest -Thomson. \'ero niell. 99 2Fowler. Alastair. 207, ' 4:;Fox. :\Iichad v.. 993Fox. Rulli A.• 309Foxell. Nigel, 994Fraser. Russell. 84Frccccro. John. 786Freedman, Will iam, 423Freitag. Hans-Heinrich, 746French, A. L., :w8French. Roberts w. . 747. !h6Friederich. Reinhard Il .• 99 5, 996Friedman, Donald ~ 1. , 55\, 8:,Friedman. Stanley. 310Frost, I\'lte, 8:z8Fujii, "l akeu. 643Fuller. John, -1-:24Furbauk. P. N., :1.09Fuzicr, [can . 8:::9Gabler, Hans, 311Oaldnn . Joseph A., 748Calc. Steven H., 830CillJ.lIll. Gerald. 749Gang, 'lea. 31:::Gardner, Helen. 99. 111. 3: 8. 4::;,426. 4 :Z7. 428, 486, 574. 786, 98SGardner, Stanley. 55:1-Oatch. :\li!tOll I\lcC.• 8:;George, Arapara Chcvargbcsc. 314Gcr;ud, Albert. 553Ccnictts. John. 735Ghosh. P. 1\.• 618 . 644GiR"ClTd, William , 86Oilcs. Richard F.• 'iSOOill. Roma •.P l). :;08, 554. 64:;Gillie, C hristophe r. 430Gilma n. Ernt..,t B., CJCI'iO ini , Alberto. 78G leason, lobI! R., 21 0Godi no. Rodojfo. 8-;Ccldberg, l\C\ erly. 20Cold be: r~ . lnl1a l b;Ul S.. 11:;. ~ 1 6, i 'ilColdknopf David. qCurlier. C laudio, l'iCrall:Hll, D ~· S J1l Ol l d . 16G r.lml\'i,t. Raoul. 7:;2Gransdcn. 1\. W.• 88. 211G rant. Patrick, 11, . :;:;:;. 646Cra ~·, lknniron. 753C mziani, R('nc, 17Green. Paul n.. 998C rccnhl;llt. Douiel L ; :;;6. 99

-P 4Healy. Timoth . S.. 79Heath-Stubbs, John. QO. 91Hebai ha, Ilodn. ~ 20Hcdetoft, If. 6-1IIci.t. William W., 19Hennccke, II.m . 976Henricksen, Bruce. -136. 5.1Hemddi, Mikl J. 2 1IIester. ~ 1. Thoma . )5. 916. 9 2 2 .QZ1, Q2 • 1001. l OO ~Heyworth. P. L...BHill. J. P.. 7 55Hiller. ,coA"rc ' .• ;:-Hilton. Andrew, 4 6Hinman. Rob 'rt B., 21 5Hirabayashi, [ir , 9 2. 4 3Hiroshi, Yamamoto. 49Hirsh, John C.. ]22Hisano, Snchiko. 9 3Hodgart, Matthew, 94Hoey, John. :!. I 6Hofman. Theodore. 6;2Hogan. Patnck C.. lr.. ()2.6. 961HohoA". urt. 97;Hollander. John...n 9. :;0 • 559, T 6Holloway, John. 927l loltgcn, Karl [oscf, 323. - • 6- 3Honig. :dwin. 20Hoover, L. Elaine. 100,Horowitz. Peter 1'1. . :;61Ilorsn II. i\lichacl. 6-4Hoshino, 'Ioru. 2 I 7Hough. ,mham. 6--Howell, Anthony. 9 -Hugh . I' J.. :;61lI ugh • I lerritt Y.. 6Hughes. Richard ~.., 2 1. ,24Hunt ington, [ohu , 92Huntley. Frank L.. 96Hurd, Ri hard. 574Hurley. . Harold, 1004Hutchinson. Alexander .. 2 1lkuno, Sdsuko• .140Ina. Sachiko. 2 :!.Inglis. ·red. 97Ishii. honosukc, 7; 7. ,. - 0I"-J aki. uji.]2;lzubuchi, Hiroshi. 1005Izumi. Keiko. 562[ack on. Robert .. 2 , .2 19Jacob. liles. 6[ahn, I. I .. 1006la on, Philip 1'., T[ehmlich, Reimer, 9jensen, Ejner J. • 441Ierome, Judson. :.tJl13. • lohan, 442John or., Beatrie . - 6Johnson. C. D.. 6:;6Johnson, H. . 'J:, 9 29[ohnson, Hamish. ;90Johnson. lo:eph A. [r., ;6,John on. Samuel, 99. -74. (1Jon . Myrl C .. TJon " R. T. 100 7Jurgens. Elise. 9 30Joseph. Bertram Leon. 3 26[urak, Mirko, 44,Author 'IId·.\Kalia, B. K.. 61 ,6;7Kapoor, R. C .. 143Katona" Anna, 514Kaul, R. K.• 1008Kawamura. [oich iro, 444 , 56.l. 6:;fl,6-9Kawasaki. Shiihcniko, 1009Kawasaki, 'Ioshihiko. 32 . 51 . 101 0Keast, William R., 32 . 7 6Keeble, N. H.. 44-Keen. C craldine. zzoKelliher, \V. Hilton. 660Kelly. T. J.• 2: 1 . :;6;Kemper man .. ~-Kerins. Frank 1\1.. 661. 60Kerrn od c, Frank. 10. 99. 329. :;SQ. (11'1: .7 6. 3Kerrigan, William. 66 ~Keynes. Ceo rey, 4 6. -4:;. :;66. "6-.93 1Khanna. rrnilla, 222Kiley. Frederick. 25Kimmey. John L.. 90 IKiparsky, Paul. 61Kirkp atrick, Hugh, 446Kishimoto. Yoshitaka. 100. 22 • H O,447, 448, 76 2Klammer, Enno, 26Kl emp , P. J., 10 24Knights, L. C., 664Kobavashi, Sakae. -6Kodama , Hisao, 101Kolin. Philip C., 665Koppen fels, Werner von. 10:!.Kurkowski. En enc, 6,Korte. Donald I I.. 1 0~Kranz. Ci bert. 224. 22 ­Krasauchenko. 'J: IT • • 449Krcmen, Kathryn R.. 4 -0

:\ ut/lOr IndexKreps. Ba rbara I.. B IKress, G. K.. 1011Kress, GUllther. 971Kroncnfeld. [udv Z.• 819Krzcczkcwski. Hcnrvk, t0-lKusunosc. 'lbshihiko, 10;. 106. n~ .-15 1,8-10L. . P.• l nLa Belle. lenijoy. 764La Branche. ;\ .. 786Labriola, Albert C.. 569La Guardia. Eric, ~7Lander. Clara. ,,3La tt, David J.• 912lauribcn, lohn R.• 8-11Lawniczak, Donald A.. 107Lea. Kathleen. 108Leach, Elsie, 452Leavis, F. R.. 10

Author Index~ lm {,l . R . H .• 10 21~ till ig;lIl , ShirlC}. S.H~lill s. C ordon. 848~ Im~ . lerry Leath. 34~Iill ~ . Lloyd L.. 468~ lil wa rd . Peter, 84

.pS ha\\cllJ.'~. lohn 'I:. - I. I -I •.pl. ; 00 .:;:3. 700, 703hcrwood, 'Jerry C .. :;0 1. 600hiblc. . \ arrcu, 70 1• hinoda, Avako, 15::Shinorh • II, [imc, I;::' hucllcr. SUS

AuthorIndexVanna. R. S. • pIVear, John, 277Vickers, Brian, 163, 278,508, " 22Voss. Anthony Eden. 16 01Wadd illgtOll , Raymond B.. 70 ~, 7q.7 15Wagner. Charles A., 523Walcutt, Charles Child, 58Wall , John N.. Jr.• 887Waller, G. E , 716\Vallcrs!t'in. Rnlh, 379Walter, [ames. 799Walton. I...aak. ()C), 486. 626Wanamaker, Melissa c., 800Wanninger, Ma ryTenny, 165Warnke. Frank J.• 99. 166, 1 7~ , 279.:;:qWamm. Austin , 31\\,arton. Joseph. "74Waswo, Richa rd. ')25Walson. Georg e. 167.280Webhcr. [oa n, "9, 308. 377Wcd gwood . C. V.• 281Wcidhom, Manfred. 28zWeiss. Wolfgang . 168Welch, Dennis, 888Wellington. Iaues V.• 378Welsh. Andrew. I O.pWenn erstrom . 1\ lary II.. I O..j.3Wertcnbaker, T homas J., [r.. t)67While. Frances 1\lary. 547While, G ail, 717Wh ite. Gertrude. :;26\Vh ite, Helen. n qWh iting. Anthony. 612Whitesell. J. Edwin. 58William s. Aubr ey L.. 968Williams, Gordon I. , 16q. 170Williams. Oscar. 20Willi amson, George , 17 1, 3 2~Willy, Margaret. 380Wilson, David B.. 381Wilson , C. R., Jr. , 172Winny. James. :z83Winstanley. Will iam . 648Witherspoon . Alexander 1\1.. 173\Vong. Yoon -wah. 1004Woodhead. ~ 1 . R.. 7 18Wrighl , George '1'. . Sli9. Rqo\Vrighl, Margaret. 801Wyke. Clement H.. 891Yamada. Yutaka , 969Yamagata, Takashi, 284Yeats, William But ler. 486, 574' toklavich, [ohu ~ 1. . S92Yokota. Chrrzo, 891Yokota, Nakazo, 60. 61, 28:;, 6 13Yoshida. Sachiko. 62.1 74. 719Zaki. [afar, 6 l!~. 720Zbor. Flora, 734Zins, llenryk. 527Zutilwski. [uhusz. 104

Subject Index(T he following is all index of subjects me ntioned in the an notation inthis bibliogra phy. The reade r is advised to check all gen eral studies relatedto a pecific topic.)Adam. 385, 529. 646. 98, 91 IAdams. Thomas, 738, , 27Adolph. Robert. 18Aeneas, 667Aesop, 592, 690Alabaster, William . 068, 733Albert of Brussels, Archduke, .J.95Alchemy, 42, 98 , 222, 399. 492, 6 12.639,642 , 669, 677, 783,910,

Subject Index(The following is an index of subjects m entio ned in the a nnotations inthis bibliography. The reade r is adv ised to check

Sub ject Index11. 20.31. :;1. ;b, 79. 88. IC4. II ; .130. 1.1.7. 1; 1. 163. 173, 178. 19; .21'). 232. 2(1l. 2(n , 281. 283. W4,307. 311, 312. 347, 379, 380.442 ,"HO. 476. 48 1. 48 5. 486, 487. 491.4Q8. 510. ;21. ; 41. 5·H, :;66. 573.514. ')78, ,

_12" 2Sl.I.b;ect IndexC hi'I ' I1IO. t044Christ. See / t"'US C hr istChrysostom . Saint Joh n. ;4:Cicero, 6fj2. i1 :;C lart' of :\Iontcfalco. Saint. flo4C larke. John , 67 :Clavius. C hr istophe r. 120C leme nt uf Alexandria. 474Clements. A. L,. 19. : 69. 839C leveland. Joh n. 366. 640. 6

Subject l vul exDramatic monologue. 4fS7. 7 51, !S.P .887, 904Drant . Thomas, -lG2Drayton , i1.l ich,lt'J. 98. 247, 650. 668Droeshout. il. lartill. 179, 545Drummond, William , 29. 239, 33Q.668.764DTU I") ~ Elizabeth. L05, 140, 181, 219.3OQ. 33 1. H 1, 35;. 371. 414, 4 53.;72, 728. 748, 770. 7n9. 800, 934,94;,966Drury, Sir Robert. 179. ; 60Dryden. John . 8, I:; , 12 3 , 1 24, 167.12.8, 273. 181, 294, 486. 57:2, 575.626, 640. 676. 677, 792. 100 7Du Belley, [cnchim. 8:::9Dnb nc r. Friedrich, 9'):2Dullaert, ll eimau, (P ODunbar, William. 366Du ncan, Edgar II.. 132Durer, Albrecht. 9 26Ebreo, Leone, 40;Egerto n, Sir Thomas, 179 . 258. , 00.825Etikelboom. J. • 535EI G reco , 694Eliot, George, 366 , 368, 79ZEliot, T S.. I ;, B . 66, 109, 114.173,188,235,267.281, :::qR. 1° 1. 345,346. 366, 368. 374, 3St), 400.....9.4;z.. 486, ;0;. 514. 528, ;88, 6: 3,659, 694, 7 ;z.· 7So, 970. 974, 9Qz,1010. 10 31Elizabeth I, 427, 451. i 48Emblems (Emblematic), I , . 123, I.p.197.214, :::63. 296. )';6, 376, 40

Suh;cd IndexCra~ '. [ames, Mi,Cn't'k..\ ntholog)'. The. I)lS. 1..11). Q:; 1Crccnc. Rubert. QI ~Gregory the Cr eat, S..iut. 160Crcstcr, J'lcub. ,Crt·\'illl-. l-ulke. 74 . (n, ;:::5. 6(18. qCj7Crcvin . [acques. 'hQGrier..oll. II, I. C.. 10. 100. 17h, 17:;.H O. _11 6. ·P :;. H 1. :;0;.614. ( 51).710,774.71)1. ';96. 8W. SQ I. IP"1):;1Cro~rt . Alexander. 7';:. 7q 1C !) 'I1W~. Sir Ccorgc. IjQCrvphius. Andreas, 2 L,Guarimn. A" p2Cuil pi», Everard, 1')9, 61')6. 7Q.l, 1)7QCuim·vere. Q uct."lI. 104Cuiniwclli, Guido, :;0-1, S9'"}GlIis{', Sir Christopher. :;IHHall, JO'ieph. H9. -187. 73l:\, Q66Hardison, O. A,. 1..16. 396Hardv; '111011IOl'i, 919I b r i (~ t. ·111Il1H;!.>. ::!;8, I}O,Harrington. Sir John. 66:;Harrington. Liley, Cntlllk~~ of Bedford,;36. ; 20, :;39. 72;.7&3, S-\.:;.96 :;. 971), QS6Ha rrington. W illi:ulI, S.I" Q::;Harvey, Christopher. 28 1Harwood , lan . -186Hauser. Arnold. b ll}Hawkins, lIell!)', S.I" 419. QI8lI Oly. James, Earl of Carlisle and Viscount 11 mcil'ilcr, 179.2:;8, -19:;. :;60.870Hayward. [ohu, 10. 253. 'eXlHazhtt, William, 39-1. 7:;::!Healy. Timothy S,. 252. ,52, 706Hebel. 1_William. 706, 10 ;6Heine, Ild nrich. -I39llcnungway. Ernest, 303 , 102 1IIt' Il !)', Prince. 550, 600. 66:;, 71 JHerbert, Ge orge, q , 15. 20, (1), 7-1.96,97.123. nt). L3-\. Q7. 1-!'. L82,l Q7. 20 3. 229 , 2-1;, 2;;. 170. :1.71,279. .l80, 281. 28" 313, ,66. 374.390. -\.22, -1-;:. -18o, ; 1-\, ;-1-7. 575,;

Subject ludC'xlncamntiou (Incaruation alum]. 1::q.nS. H I. 7!:if)Index of Forbidden Huoh . ; :'71 1l ~ e , Dean Willi,1ll1lb lph. 707Isham, l-Iizabcth. 'P';Isham. Sir John. '; :'1lsharu, Sir [uvtinian. H~. 766lackson. Rober! S.. .n ;lacopoue da ' ICKIi. l l,lakobsou. Romau, 7 1:'jdlllCS. Heu rv, l66Pint'S I. :'QO: 318, l86. 4 ;Q. ·i14. qq.;;0.604. oW. 7to. 763 . ~ 70. 1)0 :' .907 . IOU . 10 30pnsoll. II. W.. ~Q 8J a ll S ~ e ll , Co rnelius. 179jeffers. Robin-en. 346[creme, Saint. JOO, 38~[essopp. Augustus. 706Icsuih, Q2. 17;. zp. :.8z. liS. j ro.l86• .P4, 46l, 4' S. :;0';, ;z7, :;4Q.711.716.744. ';6l. 8 1:;. QIS. 9:.2.9 z3, Io n . $t'f' also Loyola. Saintlgnanuslesus Christ i C h t i ~ tol u~'l. l , 197. :.q .zQQ, l OI. 31;, 116. 117. 324. H I.l·P . l 08. H I, 38;.417.436.446.474. P9. ;83. :;88. ru e. 611. 6.....076, 679. 729. 7,P . 748. 7 :;1. Sal.804. &>S. RQ7. ()C:;. Ql4. 9;Q. Ion.l o q,lewd t . Sarah Orne. 7Q :)ulmsoll. Snnncl. I; . Qfl. 173. :.87.366. oJl l . 6:;0. 7 :;:'. 780, 7Q: . 974.10 16Johnson. Thomas. 68;lohn Ihe Itlptist. SainI. 8

.p.6:-'lcKittcrick, David. 6;:4Maconchy, Elizabeth. 47::!Magellan, Ferdinand. 774Magus. Simon. (Xl,Manchester. Du ke of. 220. ,6,. 426.507. 710Manley, Frank. 10, p o. ,Q6Mannerism (;"Ianncrbt). 219. ::! 38. ::!;I,, 62. 4(19. ,n. 619. 6,8, 659. 6

Subieet indexXcw philusophv (l':I.'W science], 9 %,130 , LB , 1 8 ~ , 21;, zlh . ~ 1 9. p 6.]6z, -4-48, 'P i, ; -46, i Z7, 7 36, 7,-4,qfx}Niccol. Richard. 60" 6-4;Nicolas ofCIlS:1(C,ISll llUS). 38. 7z7, 9-41Nicolson, Murjone , q u. 340, 396Noah (Sons of Noah), II;, 38;Noble. Mark, , INorton, C harles Eliot, ,6iNctker Balbulus of 51. Ca nl. 7ZSNO\'3n , David, 8 ; 6Nowell, Alexander, 127,"u lllcrolllg)', 1.4-4, 183, z07, 2, 7. 70 5.8 q , 90 ;, 9 10 ,

-1-28Pseudo-Bonaventure. 317Puns (Word-pl.w). -47. 1:7• • 30, 276.149. 362, 3BI, 579.639,687. (XJ -4,/38. 7-45. ;97. 90 1. 9 38. 953 . ()f8.980.100-4,1 0 12,10 19. 102h. 10.pPuritans [Puritanism], n . 283. 4 1-4,-4n. 5-46. 58:;, 738, 808. 8 . 2Puttcnham , Ccorge, 129. 793~ 1hagm ,l s ( ~ thago rca nl.

Subiect lnde:l.Shakespeare. W illiam (Shakcspcar­diS,can). 4. I,. p.. 84. (n . IQq ,2.;:9, 2.83. 357. 524, ,94. 598. 6 u).6H. 6lS. 668. (xp, ('1

4 JOVickers, Brian. 486Virgil. 6("Virginia Co mpany. : :;8, 464Vives, Juan. 603Vries. ' 1111.'1111 de, :;,:;Waddington. Raymond. 8nWain. Juhn , 3: :;Walkr , Edmund. 26 :;, 150, 8,8Walsingham, Francis. 83Walter. Peter, 968Walton , Izaak, 9. 1: 1, 113. 179. lS:;.393. 486. :;61, :;66. 7H . 7, : , 900,92 1, 1°30Warnke. Frank, 197Warren, Robert Penn. ;46Watkyns. Rowland. 733Watson, William, , !Hi\Vatls, [S;-W C, ..j.RlWebber. [nan. 188. 308, 722Webster, John, 1008Welch , Raquel. 1007Wcnickc, C hristian, 792Westoll, William, S.l.. ; lHWheelwright. Philip, H9White. Helen C .. :75Subject Index\ Villiams. Alexander. 815Williams. John (Bishop), 179Williams. Thomas. 8 1:;\ViI\iamson. George, 196Wilmot. John. Earl of Rochester. 74.: 6:;, ("l.a, 677Wilson. Arthur, 476Wimsatt. W. K., Jr. . 149. 9 ';1Wtilffiin. Heinr ich. 221)\Voodw~l rd . Rowland. 979 . 1)8;Wordsworth. William. 19J. ,66Wotton. Sir Il enry, 161, .p.:, ; ':0,763.766. Hq . 97'1Wriothcslcy, Henry. Earl of Southarnptoncyt oWyatt, Sir Th omas, 70, 97. 159. .j.66,50

Index of Donne's WorksM entioned in Anno tations(The following is all index of Donne's works mentioned in the annotations.)Songs and Scnets, 10 . 12. 15 . 2 1.57. Ili . 121, 1.J.7. 152, 16(J, 167 . dSl ,102,2° 5 . :2. 13. 217, 223. 239. 2-\0, :1.4 5.263.300, 30-1, 3° 5. ,06.313. 36-1. 366.374. -107. _p8, ..pS. -no. -1H. -B9. 466 ,5° -1,522. p ol. 528, 'no, ; -1.6. 559, 573.574, 576. 5 ~ 6, ; ()

43 21003. 101 1; "T he Paradox: ' 70. 100 3;"T he Prohibition," 70. 601. 700. 7P.806; "T he Primrose: ' 144, 207, 367,614.7°5.789.855: 'T he Relique," 15.~ 4, 70.117. Ip. 143. 16.,. 137. azi ,25°, 183,366, 380,512,529, 576, ;86,640. 679, 713. 743, 765. 790, 363. QI I .98q, 100 3, 1020;"Selfc Love," 442, 614:"Song: Cue. and cutchc a falling starrc,"130 , LB, 135. 19;.335.431.443.472.48

Index of \ \'orks10; 1; Satpe V. ;;9. 500.681.692.B..p . 9 57, 1002u tttrs to SnwlIlf Persona8''S' 8. 10.121, 1:8.1..16. 1..17. 179, 182. 205,247.; 00, ; 20, 336. ,8q. 4 59, 520. 546, 1)72,fi50, 66 2, 66". 72;, 810, 811, 842, 8.. 5.B72. S75, H81. 932, 960. 965 , 97 1, ()79,10 25; "The Stonne." 108•.g S, 458,667,1),1,874.926,940. 1008; '~ I1l('Calme," 128. 186, -1 58, 592, 851 , 87-1.940; " Io Sr lle nr~' Wotton: Sir. morelhcn kisses,' 8. 136. 211. 357. 811. 8,1,c/xl, lJ71;-'10Sr l k-llT)' Ccodyere Whomakes the Past,' 81 I, 960: "'10 ~ lrRowliwd Woodward: Like one who."8 1I. 818, 96o, 97 I; "lc Sr llell!}' Wot..Ion: Here's 110 more newes," 8 11; " lcthe C OIIl1k'SSl' of Bedford: Madame. YOIIhave rcfin'd," 97 1; "')0 Sr Edward l lcrbert.at Julyen: Man i ~ a lumpe." fS l l,RQ8.

414,IJO, _p .O, _n6. 447. 4 50 , ",6 1, -1-94. ; 11,5Z-!.. 516. 588,6.0. 66 3. 7 11, 735.745,755. 906. 978, 10 29; "XV: Wilt thoulove Cod. as he thee!"735; "XVII:Sinceshe whom llov'd," 143. 233. 366. +H .579. 6q1. 8 :1.3. 850; ~XV III ; Show medcarc Christ," 66. I-B, 2l q. 300, 38Q...n 6, 444, 450. 587, 663. 7CJCJ. 850, 98;:"XIX: Oh, to vex me , con traryes meetin one," 203. 46;, 538. 767. 86; . 1013:" 111t: C roS5C," 3. 306. 479 , ; 2; . 90 5.936. 99 2; ''1111;' Annuntiafion and Pasxiou,"+.j.6, 660 . ~I 'P, 803, 905; "Ooodfriday.161 3. Riding Westward," , . ; ...H . (l(). I.B . 112. 31;. H I), H4. , 6Q,450, 4'79. ;19. ; 29. 5;1, ,q6. 616, 6 17.6:0.623.637.652, 654.66:.673. 688,694.710,729.742, 776,80,,838, 3Yof Valour," 83: 'T he TrueC haratler of a Dunce," 550, 1025